JUNE / JULY 2017 | WWW.DANCEAUSTRALIA.COM.AUipGamblinisoneofAustralia’s
most accomplished multi-faceted
performers.Anactor,dancerand
choreographer, he has carved a
career across performance genres
andcontinents.Heismostknowntotelevision
audiencesforrolesinAustraliantelevision
dramas likeHome and Away,All Saints,Dance
AcademyandNeighboursbut has also garnered
international acclaim for his work in BBC
London’s drama series,Casualty.
Priortolifeinfrontofthecamerahe
wowed audiences as a dancer, in productions
fortheAustralianBallet,WestAustralian
Ballet and Sydney Dance Company. Now
Gamblinreturnstothestagewhilstmaking
hismusicaltheatredebut,intheAustralian
production ofThe Bodyguard: The Musical.
Herehe’llstarasex-secretserviceagent,
Frank Farmer, opposite Paulini Curuenavuli,
(known to television audiences from
Australian Idol)whoplaysRachelMarron,in
therolesbroughttothescreenbyKevin
Costner and Whitney Houston in the 1992
movie which inspired this musical adaptation.
Ihadthegoodfortunetointerview
Gamblin during rehearsals for this show.
Ifoundhimexcitedattheprospectof
returningtothestagebutequallypleasedto
beonceagainutilisingthedisciplineand
skills inspired by his dance training whilst
sharingtheperformancearenawith
like-minded performers.
Gamblininitiallytrainedindance,theatre
and drama at Sydney’s McDonald College,
andthenattheAustralianBalletSchool
beforeembarkingonaprofessionaldance
careerfrom1994to2002.Inthistimehe
performed with the Australian Ballet, WestAustralian Ballet and Sydney Dance
Company, including principal roles in
PaquitaandLe Corsaire. These years of
training and performance shaped not only his
dancer’sdisciplineandworkethicbutalsohis
perceptionofhimselfandtheprocessesthat
allow him to create and perform work that he
finds rewarding. And this is why the rehearsal
process for this show had him feeling as
though he was reconnecting with his clan,
drawingonwell-honedskillstocreatea
primarily dramatic role, even though he’s new
to musical theatre.
ImetwithGamblininasmallmusicstudio
at ABC’s Sydney headquarters, at the end of
weektwoofthefive-weekprocess.Thusfar,
hereported,hewaslovingthework.“Itwas
all choreography, yesterday, and it was really
nicetogetbackintoastudiowithdialogue
like‘Onthecountofeight,this,andonfive,
that...andhandshereonthat!’ButwhenI
saychoreography,formyroleit’smorelike
fight choreography (blocking) ... with slowmotionsequences...andIhavetolift
[Paulini]onacertaincount...soIwonder
howitwouldbehavinganactordoingthat
partandnotknowingaboutfeelingthe
timingofthemusic.”Headdswithawry
smile,“Ithinkbeingadancermayhave
playedapartinmycasting[in]therole.”
InstantlyIwasstruckbyhislackof“TV
star”egoandhowmuchheseemedtobe
assimilating himself into the cast ofThe
Bodyguardrather than promoting himself as
separate,eventhoughhesharesleadstatus.
Butitwasobvioushe’salovelyguyand
apparentlydoesn’tneedtoflauntaraging
egotobolsterhisconfidence.However,it
wasnotuntilIheardhimdescribinghis
rehearsal process that I realised his humility
stems from the fact that he still considers
himself a dancer first. This musical theatre
experience was allowing him to reconnect
with that. He enthused, “Typical dancers!
Weareprettygoodatadapting.Andwelike
to take on challenges. Frank Thompson,28 /SHOWTIME!
KipGamblintalkstoSally Clark
abouthisreturntothestage
andmusical theatre debut in
'The Bodyguard'.
K
PHOTO: PETER BREW BEVANAdancer
at heart