Interview

John Goldsworthy

by Phil Willmott
08/09/2005

Whilst rehearsing near Munich I met up with Jon Geoffrey Goldsworthy who's currently playing the doomed King Ludwig II in the German musical of the same name. On stage he looks remarkably like portraits of the pale, haunted, dark haired, eighteenth century monarch so I was surprised to find in real life he looks, by his own admission, perfect casting for a Nazi officer with a shock of blonde hair and chiselled cheekbones. But even that's an illusion, he is in fact originally from Michigan USA.

Q: How long does is take you to transform your appearance into Ludwig's?

A: About 45 minutes each night. There's the wig but then lots of dark shading. It used to take longer but I'm very used to it now.

Q: How long have you been playing the part?

A: Well, for four years in the original production, and since August 1st in the current version.

Q: Lets talk about that original production. It must have been an extraordinary thing to be part of. They actually built a theatre to stage the show didn't they?

A: Yes, it was very spectacular. The stage opened out on to an actual lake with Ludwig's castle in the background.

Q: The lake where he committed suicide in real life?

A: That's right.

Q: everyone tells me about this amazing moment when you appeared to really disappear under the water and drown. How was that done? Was it scary?

A: Well, fortunately I've never been frightened of water. I'd walk out some of the way then swim underwater pulling myself along under the surface until I was out of sight of the audience.

Q: Did you have lots of auditions for the part?

A: Yes, quite a few, and there was a workshop stage when I was too ill to take part, so I could have lost it but fortunately it all worked out.

Q: You shared the role?

A: Yes with two other performers. The role is a big operatic sing and no one could manage it for seven performances a week. In the current Munich Production there are two of us alternating, with an understudy for emergencies.

Q: The character of King Ludwig is such a legend around here. A mad, gay king seems an odd folk hero for such a conservative place.

A: I suppose so but Bavaria has always liked the idea that it's a separate kingdom. I guess Bavarians enjoy remembering there was once a sovereign.

Q: But an openly gay figure? Does that aspect of his life get disputed.

A: I think it did in the past but now everyone accepts he was gay. It's very well documented.

Q: There are real Ludwig obsessives aren't there? I've heard lots of stories about people collecting bizarre memorabilia. It's like he's still alive and a superstar.

A: Oh yes, we get lots of Ludwig fans turning up at the theatre.

Q: When I saw the show on Saturday night there weren't many people in the audience. Is it struggling?

A: Actually, we're not doing too badly considering it's the holiday period when lots of people are out of town and of course so many people saw the original production by the lake.

Q: That version eventually went bankrupt. Were you surprised the creators revived it so soon in Munich?

A: Well for them Ludwig is a way of life. Their dream, their passion. It's not necessarily about making money.

Q: but it must have been rather heartbreaking for them to re-stage their once spectacular show with just five musicians and a backing track and to have all that magnificent scenery and effects replaced with some rather cardboard looking flats.

A: It's a shame. I don't think anyone would deny that but you still get to hear some wonderful music. Even though perhaps it's not an easy score to listen to for musical theatre enthusiasts.

Q: Yes, there's a sort of French chanson you sing with an umbrella. You could sense the audience relaxing for that number. I didn't always enjoy the show but as a non-German speaker I was expecting to be bored and I wasn't. The story is very clear. The huge 3D projections are also very beautiful. What are they like to work with?

A: Well I was very sceptical at first because I couldn't see how we would get the audience to put on the glasses you need to see the 3D effect at the right points but I think the device of the narrator telling you when to wear them works and it's amazing to see these recreations of the castles Ludwig wanted to build but was never allowed to. They would have been so beautiful.

Q: Isn't it ironic that his ministers stopped him building them because of the cost and yet the tourism from the ones he was allowed to build make a fortune for the government today and they've paid for themselves a hundred times over. So how did a boy from Michigan, Detroit end up living and working in Bavaria?

A: Well, I studied music and first came here as an exchange student. The teachers were great and I got funding to study here in my gap year too, my first job was here, now my family is here and I've never found a reason to leave. But it does feel strange that I've never performed in my original language.

Q: Your career seems to regularly swap between musical theatre and classical work. I think British performers find that difficult to do. There's snobbery in each area about the other.

A: Oh there is here too. For instance I can actually sing rock but no one would ever see me for a rock show with so much opera on my CV.

Q: what advice would you give to someone starting in the business?

A: Well, I got my fist few jobs in small German theatre's where I had to play many parts in many different plays. That's really helped me a lot and given me the confidence to try anything.

Q: what would you like to do next? Any parts you'd love to do?

A: I played Sweeny Todd when I was a lot younger. I'd love to have another go now I'm nearer the right age. Unfortunately German audiences find Sondheim's musicals difficult and there is the problem that if it's not a good translation you miss out on those extraordinary lyrics.

Q: You'll have to come to come to London and play it.

A: That would be great.