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Drew McOnie is currently one of the busiest choreographers working in British theatre.
His current projects include a brand new touring production of Rodgers and Hammerstein's Oklahoma!. Starring Ashley Day and Charlotte Wakefield, Drew has worked alongside director Rachel Kavanaugh on the show.
He is also currently choreographing the new UK Tour of Hairspray which is directed by Paul Kerryson as well as the UK’s first professional stage production of Bugsy Malone in over a decade at the Lyric Hammersmith.
Drew’s other recent credits include: The Sound of Music and Chicago (both Leicester Curve), In The Heights (Southwark Playhouse), Little Red Riding Hood (National Youth Ballet), West Side Story (NYMT), 13 (Apollo Theatre), Laurel and Hardy (Watermill Theatre), James and The Giant Peach (UK Tour), Soho Cinders (Soho Theatre) and Patience (Union Theatre).
He is also the founder of The McOnie Company for which his work includes: Drunk (Leicester Curve/Bridewell), Good Morning Midnight (Jermyn Street Theatre) and Making Midnight (Latitude Festival).
I recently spoke to Drew about taking on a show as iconic as Oklahoma!, why diversity plays such an important part of his career and what musical theatre songs he would want with him on a desert island…
What was your relationship with Oklahoma! like before you were approached to choreograph this new production?
Well I think for any choreographer Oklahoma! is a pretty massive deal. Not least because as a show it offers the opportunity for real creativity, but also it provides a platform for dance which is incredibly narrative and important. For me personally it’s a very important show because when it first opened in 1943 it really changed the way that musicals were perceived, and in particular the way that dance in musical theatre was received. So any of us new choreographers owe a huge amount to Agnes de Mille (who choreographed the original production) for what she did and introduced into musical theatre.