Michelle Visage on Sea Witch, drag and why theatre has always been queer (EXCLUSIVE)
Ahead of the show’s limited performances, Visage speaks to Attitude about joining Sea Witch and the production’s new music video 'Beware of the Storms'
By Callum Wells
As Sea Witch prepares for its world premiere at Theatre Royal Drury Lane on 1 March, Michelle Visage is stepping into the West End in a role that feels both theatrical and deeply personal.
The major new musical is a bold prequel inspired by The Little Mermaid, reimagining the origins of one of the sea’s most feared villains through a story of identity, sacrifice and self-discovery.
Visage plays Tante Hansa, a protective witch guiding a young woman through a world where magic is outlawed, and stars in the production’s new music video ‘Beware of the Storms’ offering audiences an early taste.
The all-star cast includes Jay McGuiness, Natalie Paris, Mazz Murray, Amy Di Bartolomeo and Natalie Kassanga, alongside a high-profile creative team led by director and co-creator Kristopher Russell, writer Michael Glover and choreographer Dean Lee. Music and lyrics come from Segun Fawole, with music production by Jeff Nang.
Ahead of the show’s limited performances, Visage speaks to Attitude about joining Sea Witch, why theatre and drag are inseparable, and what she hopes audiences feel when they leave the theatre.
We’re here to talk about Sea Witch. You’re playing Tanta Hansa at Theatre Royal Drury Lane. What first attracted you to the role?
Well, they asked me to do it and then I read the script because I won’t go blind into anything! It has to make sense and they sent me the script, I read it, I thought it was really intriguing and then I heard the music and the music is so good in the show that I thought, “Yeah,” and then, of course, I saw who else was on board and Nats and I have been wanting to do something together for the longest because we’ve been friends for a while. So when I saw Nate on it, we called each other and started screaming like giddy teenagers and, that’s how it began. I’ve loved Amy and Natalie, you know, I’ve seen Natalie like three times in SIX and it’s all very exciting.
How would you describe Tanta Hansa to someone who doesn’t know the show yet?
So Tanta is… Natalie May Paris’s character, Evie, it’s her auntie, and Evie lost her mother, which was Tanta Hansa’s sister, and I am there as kind of, I’m a witch. I’m a good witch, but I am a protective witch. I am guiding, trying to guide Evie away from evil and trying to forewarn and warn her of the dangers that are amongst us. And my role is basically mother… mothering, but being an auntie.
That feels quite fitting, given your relationship with the LGBTQ+ community
It does come naturally, it’s in my blood, what I’m here to do.
Can you talk about the music video and how that came about?
It’s really fun because nobody does this anymore, especially when it comes to theatre. Who would think a music video for a theatre concert, but yeah, the score, which is written by Segun, he’s very specific in the way he wants things and he’s this young, edgy, cool singer-songwriter, performer himself. I don’t want to say it’s just pop music because there’s so much musical theatre in the way he writes it, so it’s kind of musical theatre pop music score. And I think having videos for some of the songs makes sense so people understand what the tone of the show is all about before they come see it.
How does working on Sea Witch compare to other theatre, TV or music projects you’ve done?
I feel like it’s the same as far as theatre goes because theatre is theatre, but it’s a little more experimental because, obviously, it’s not a full stage production. It’s a concert. And these things are kind of the way forward. Everybody does it to see how the audience reacts and I think the audience is really gonna love it because it’s a story we kind of know. People will know the story of The Little Mermaid, and this is kind of like a prequel, like how Ursula became Ursula, and that’s interesting I think to a lot of people. I know it is to me cos I’m a massive fan of The Little Mermaid.
What do you hope audiences take away from it?
Well, I think that they’re going to take what they take from the message of the show, you know what I mean? I think people will understand that there’s good and evil, and some people go to the dark side and never come back, and some people get burned and learn a lesson, and it’s kind of all about that. That’s not what I’m hoping they’ll take away. I think that’s just gonna be something that’s there. But I want them to leave feeling fulfilled. When you go see a show and you leave, you go, “It’s alright, it’s alright,” because you didn’t feel fulfilled. I want you to leave and go, “Oh, I wanna go back.” Like I just watched Paddington last week and I can’t wait to go back. So you feel fulfilled. And that’s what I want people to walk away with. Like, “That was so cool.” I want to see the whole production type of thing.
A lot of Drag Race fans will discover Sea Witch through you. Do you think theatre is becoming more open to drag and queer performance styles?
I think that theatre’s always been open to drag. I think theatre is drag. Let’s go back to Shakespeare where there was drag, where there were no female actors because men would dress up as women. Drag started in theatre. Inclusivity to me is extremely important both for people of colour and for queer performers. I think it’s a space that is growing to be and should continue to be more so inclusive of everybody.
Is there anything you’d like to add before we wrap up?
I hope you love the show! I hope you come! An experience of love and celebration and music and art. And we have to keep the arts alive, for sure.
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