David Rogers-Smith, operatic performer, Banquet of Secrets
All artists who continue creating with often less money than they deserve inspire me.
David Rogers-Smith has been performing classic and operatic theatre since the early 90s, and has risen the ranks to earn high levels of acclaim throughout his storied career. David has earned roles in notable productions of Les Miserables, The Phantom of the Opera, The Saint of Bleecker Street, A Night at the Opera, Madama Butterfly and countless others. From April 7–9, David will be on of four operatic talents performing in Banquet of Secrets, a highly regarded production from the mind of TV star Steve Vizard and jazz legend Paul Grabowsky. Before the shows kick off, we asked David a few questions about how he got his start in operatic theatre and what audiences can expect from Banquet of Secrets.
To start, I’d love to know about where you found your love for classical and operatic music?
Both classical and opera were a late-developed love for me. I was strictly a musical theatre and rock lover. My teenage, piano-playing self really wanted to be Billy Joel. I spent too many hours learning some of his incredible solos and playing them badly. Robert Gard OBE was the teacher who really showed me how to sing with a proper operatic voice – then when I knew how, I really started to enjoy making big sounds and exploring that world.
How did you first discover your singing voice?
My mother informs me that I could sing well as a child but I have very little recollection of that. I was dragged into a high school production of Annie Get Your Gun because my brother was in it and he dobbed me in! That process continues to this day. I am still exploring new sounds now – last year I wrote about, and developed an ability to sing multi-phonically for a University project (I am both staff and student at Monash University).
Do you remember the first performance you ever gave in front of an audience?
The first poignant singing moment I remember was at a school assembly, performing the wonderful song ‘This Nearly Was Mine’ from the musical South Pacific. I had an almost out of body moment – it felt like I sang while looking down on myself. When I finished I saw my dear friend Samantha crying her eyes out. I have been hooked ever since.
What would you say was your first big break role in the industry of operatic and musical theatre?
Almost straight after finishing Uni I had two offers on the table: a chorus contract for Victoria State Opera and a chorus contract, with understudy to Piangi, for The Phantom of the Opera. I took the commercial theatre route. Despite being told many times I had to decide between the two forms I have been so lucky to have a bit of both for a couple of decades.
You are performing at the Brisbane Powerhouse in Banquet of Secrets – what first drew you to your role and the production as a whole?
To start with: what an incredible set of performance spaces! Brisbane is so lucky to have the Powerhouse. I am blown away by the architecture and the brilliant re-use of the old buildings. What drew me to the role? It is an immense pleasure to be asked to perform in anything – this is a tough industry. Of course the fact that it is a new work is exciting (and scary). We can’t pop on an existing cast recording and learn through osmosis. The challenge in Paul’s music is in its complexity and harmony. I’m on the lowest harmony which is a place I haven’t been since Melbourne Youth Choir days. The spoken words of Steve’s have a unique cadence which require a lot of rehearsal and I mean a lot! Our wonderful assistant director, Libby Hill, has to become drill sergeant at times to make sure what is meant to appear as four friends having casual conversation is accurate to the script. It is tough but fun.
What can audiences expect from the show?
Judging from our reviews and the audience reaction to the Melbourne season, people are going to probably be quite moved by the stories. I don’t want to give too much of the plot away and ruin the show for those coming, but there is a familiarity to at least one of the secrets for every person. The post-show chat is often about the similar situations that audience member has had –and some complain that they didn’t have tissues and were a mess.
What do you hope they take away from the performance?
I hope they feel like they will hug those they hold dear. There is a lot of heart in our show.
As the show revolves around a rather lively and intense dinner gathering, I’d love to know if you could have dinner with any collection of individuals – living or dead – who would they be and how do you think the night would go?
Margaret and Gough Whitlam, Lily Tomlin, Carol Burnett, Tim Conway, Joan Rivers, The Two Ronnies, Oscar Wilde, Gore Vidal, my dear-departed Gran (she can do the baking – best ever). That could be hilarious! I just want to know if they were all really that witty in person. It would be a lively night although they might all try to outdo each other and it could turn ugly. Hmm,maybe I’ll re-think that answer – keep my Gran there, though.
You’ve performed the role of Ubaldo Piangi in various productions of The Phantom of the Opera more than 2500 times – that’s quite an achievement! What do you love about the role that keeps you coming back to it?
It is, as I mentioned earlier, always a pleasure to work. The role in Phantom was my first and dearest. He can be played small, or he can be played the way I played him – big. Really big. As the saying goes ‘there are no small roles, just small actors’. People often ask how I could do a show that many times – short answer is: to pay the mortgage. The job of the commercial theatre worker is a long run is to find ways to keep it fresh. Every person has paid good money to see the show, and they all deserve a great experience whether it is performance 1 or 2,000. The greatest part of a long run is the family established in the dressing rooms. Maybe my dinner party could be that old crew of mates from the Phantom days sitting around in our ridiculous bits of costume at interval with cups of tea. We laughed a crazy amount. Definitely add Jon Ewing to my dinner party – he was one of the best wits I ever knew!
What would you say has been your greatest career achievement to date?
I always am in love with whatever I’m doing at the time. Releasing my CD was a big achievement. Singing at the Sydney Opera House with a huge orchestra is amazing! Getting a standing ovation from one audience member after singing You Gotta Die Sometime in cabaret. The lovely gentleman was dying. I suppose the greatest achievement is that I am still working after 25 years in the business.
What is a dream role, performance or project that you’d love to take on in the future?
I seriously would love to continue as I am right now until death. I never wish to retire. I do a few wonderful shows, some excellent teaching, and will continue studying and learning. My friend Val Jellay wrote in a book ‘Do you want to be a star or do you want to work?’. I want to work.
What has been inspiring you lately?
I admire anyone who creates new works. I love Jake Heggie’s songs I am learning for a recital. Paul and Steve’s Banquet of Secrets, and its creation by all involved, is very inspiring. Antoinette, Dimity, Kanen and Michael bring the show to life each time inspire me. All artists who continue creating with often less money than they deserve inspire me. Arts bodies who take chances on new works inspire me. My young students who are on their way to careers inspire me.
Is there anything you’re looking forward to seeing or doing while you’re in Brisbane?
Brisvegas is always fun for me. My brother and his family all live up here. We will get great noodles in Sunnybank and probably wander around Southbank with an icecream in hand. If there’s time, a bit of a wander around West End for coffee and shopping.
Banquet of Secrets is being staged at the Brisbane Powerhouse from April 7–9. Tickets are limited, so be sure to head to the Brisbane Powerhouse website to secure some now.