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As it relates to mental health and his anxiety disorder, that’s something that I’ve always struggled with,” Doyle said. “The fear is that he’s going to hurt and disappoint Paul, and that’s something that I can really relate to. Photo by Matthew MurphyĪfter stepping out of the audition room and into rehearsal (along with a two-year COVID hiatus), Doyle has had time to develop the role and personally connect to the character’s journey. Matt Doyle in the Broadway revival of Company. “Because if I did not get approved by Stephen Sondheim, I’d be carrying that to the grave.” “But they weren’t going to tell me that,” Doyle said. He later found out that the production was waiting for Sondheim to watch the taped audition and give his blessing. Doyle wondered if no news was good news or if the casting was moving in another direction. And I remember thinking, ‘I think that went well.’”įive days passed, and still no word. And we had already had a connection and a bond, and we were having a really wonderful time with one another. Elliott worked with the actor, deconstructing the song verse by verse, then moved into the scene.
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“Luckily, every word just somehow came out of my mouth the first time,” he said. And I came back in for the callback.”ĭoyle, having barely slept, returned the next day with the song memorized and additional scene work prepared. You are Jamie,’ and sent me home to learn ‘Getting Married Today’ overnight. You’re not Jamie.’ So I went in for Paul, and within about 30 seconds of my audition, she stopped me and said, ‘You’re right. And she said, “No, no, please come in for Paul. And I said, ‘You know, look, I’m sure you won’t cast me, but I don’t want to waste anyone’s time. She originally asked me to audition for Paul. “Marianne worked with me on Warhorse, and we had known each other for a while. And the people that I’ve worked with, know me as an actor, and trust me,” he said. But I feel like any role that I’ve ever dreamt of playing or really gone after it, those are the roles that don’t happen, you know, you’re too desperate for them, they can smell you a mile away,” Doyle said.Ī post shared by Matt Doyle roles that have fallen into my lap have happened organically because of the relationships that I’ve built. “I heard that it was possible that it was coming over. He basically said, ‘Marianne, you need to be sitting down, you need to have a glass of wine in your hand, you need to take a deep breath: I think it’s a great idea.’”ĭespite the success of the show and Bailey winning an Oliver Award for his performance on London’s West End, the role wasn’t on Doyle’s radar. And take a deep breath, but I’m going to say something to you: I think possibly we should change Amy into a man.’ And Steve’s reply sums him up, really, as a collaborator. You have to be having a glass of wine in your hand. Having difficulty casting the show as initially written (Beth Howland from TV’s Alice played the part in the original 1970 production), director Marianne Elliott asked Jonathan Bailey (the hunky viscount Anthony on Bridgerton) to play around with the song during an early workshop in the U.K.Įnergized by the potential, she quickly emailed Sondheim, recounting to the New York Times, “I said, ‘Steve, you have to be sitting down. Five shows later, including the lead role in The Book of Mormon and Elliott’s visually stunning production of War Horse, he’s back on Broadway after a pandemic hiatus that shut down the musical just as it was about to open. But director Marianne Elliott’s reimagined production also features another major casting switch that helped land actor Matt Doyle a Tony Award for Best Featured Actor in a Musical.ĭoyle plays the perpetually anxious Jamie, whose pre-wedding jitters serve as inspiration for “Getting Married Today,” an ingenious, high-velocity patter song that questions heteronormative traditions.ĭoyle is no stranger to Broadway, having made his debut in the original production of Spring Awakening. The show now positions its central character, Bobbie, as a 35-year-old woman questioning the validity of traditional marriage. The gender-flipping Broadway revival of Stephen Sondheim and George Furth’s 1970 musical Company won big at this year’s Tony Awards, including Best Revival of a Musical.