Tuesday night saw the Adelphi Theatre, usually the home of the musical Back to the Future, taken over by Marisha Wallace, her fantastic band, and backing singers for a one-off concert. With a full house, a mix of fans and soon-to-be fans, Wallace opened strong, arriving on stage in a glamorous silver sequin dress trimmed with fur and delivering a powerful rendition of Some People from the musical Gypsy – a flavour of what was to come. This was Marisha’s chance to tell her story with music that means something to her.

The story of Marisha Wallace is as interesting and varied as her vocal expertise, and she interspersed a carefully chosen selection of songs with personal anecdotes. Her honesty and vulnerability, laid bare on the stage, were a direct contrast to her formidable stage presence. We found out about her strict gospel upbringing in Goldsboro, North Carolina – no trousers for girls, no makeup, no music that wasn’t religious. We heard about how she lost her voice and got it back – a cyst on her vocal cords miraculously disappeared through the power of prayer.

We also heard about her music teacher, Miss Grantham, and how she paid out of her own money to take her student to her first Broadway show to see Heather Headley playing the lead in Aida. Miss Grantham told Wallace that that could be her on stage, thus sowing a seed that led to her becoming a leading lady in London’s West End via stints on cruise ships, dinner theatre, appearing in Something Rotten! as a tap-dancing egg on Broadway, to Waitress, Dreamgirls, Guys and Dolls, and currently as the first Black Sally Bowles in Cabaret in London’s West End. We heard of the ups and downs of the profession and the ups and downs of the love life that went alongside the work. And how she is now Brit-ish (her description), having received her citizenship and having lived here for several years. There were no rose-tinted specs on display, and consequently, the show was all the more refreshing.

As might be expected, we heard a mix of song styles based on Marisha Wallace’s own influences – gospel was prominent. We also heard songs made famous by Whitney Houston and Etta James, among others. Musicals featured prominently, as that’s what most of us in the audience know Ms. Wallace for. There were excerpts from shows she’d been in and some she hadn’t. A highlight was Tomorrow from Annie. This was a new arrangement, which Marisha made her own, showing a tenderness in her vocals that resonated deeply, also showing the audience her diverse vocal ability.

The show was fantastic, and it can’t go unmentioned that this show was created, rehearsed, and put on all whilst Ms. Wallace is starring as Sally Bowles in the hit show Cabaret. She is the first Black actress to be cast as Sally Bowles, and that comes with real challenges. How do you make a character like Sally your own, and how do you bring something new to it that the audience has not seen before in such a famous role? Well, Wallace smashed it out of the park. She really does bring something new and fresh to the snippets of Sally we saw on Tuesday night. Maybe This Time was heartfelt and heart-breaking, and Cabaret was phenomenal, with light, shade, and wonderful storytelling.

The band and backup singers were in top form, providing a rich, dynamic sound that complemented Wallace’s vocals beautifully. The concert’s pacing was expertly crafted, balancing power numbers with more reflective moments, ensuring there was never a dull moment and plenty of opportunity for standing ovations, singing along, and dancing.

What was equally impressive was that you’d never know that this stage was home to another show. Having the full band on stage helped to fill it, but it was the lighting that made all the difference to the black-box set. It was expertly done, in perfect timing to the songs, creating a wonderful atmosphere to complement what we were hearing and seeing.

For those lucky enough to be in the Adelphi Theatre on Tuesday night, it was certainly a night to remember.

I was invited to sit down with Marisha for a brief interview, after the show:

What would your 16-year-old self think about where and who you are today?

I think she would say, “Holy smokes! You moved to London and sang for the King?!!!!” She would be very proud, and she would say, “I’m so happy we got our voice back and never gave up.” I don’t think she could even fathom how far we have come, really.

What advice would you give to your 16-year-old self?

I would tell her it gets better; every obstacle coming is for a purpose – it will lead her to a life she could never have dreamed of. I would tell her that she is beautiful just the way she is and that she doesn’t have to change who she is. The world will change around her to accommodate her talents.

We’ve just celebrated International Women’s Day. Has the playing field been levelled yet in the theatre industry, or is it still different for women, particularly women of colour?

I think it has been changing and is in constant evolution. Levelled? Not quite yet – we are constantly breaking down the barriers. There are still not enough lead roles for women in general, and that is something that needs to change. I’m the first full-time Black Sally Bowles in the 60-year history of the show. Audra McDonald is the first Black Mama Rose. And we only just got our first full-time Black Elphaba on Broadway. It is 2025, so we are still fighting to be seen, but we are getting there. One role at a time.

What are the differences you have found between working on Broadway and working in the West End?

Broadway is iconic. I did it for many years – it was always my dream. Usually, Broadway audiences are louder and rowdier than West End audiences. But not at my shows! The audience stands, screams, and hollers, so I have brought some Broadway here, I think. I have been embraced in the West End, elevated, and loved by the fans and the community who have supported me for over eight years. They have come to every single show. It has been beautiful to watch.

You said in your show that in London you can be creative. Could you expand on that a little bit?

I think in New York, I was competing to be seen and heard. In London, I have got to create and reimagine roles that I don’t think they would let me touch on Broadway. It is so expensive to produce a show on Broadway, so taking a risk on casting is scary. Artists like me don’t get the chance to really get roles like the ones I have played in the West End. Here, they have allowed me to become the artist I have always wanted to be. I get to innovate, and I don’t have the pressure to conform. I think we have opened the eyes of the people on Broadway to the fact that change and taking risks can be good.

What’s the best advice you’ve ever been given in life?

“Don’t chase the awards. Chase the work, and the rest will come.” Nicholas Hytner told me that. I was trying to decide whether to do Guys and Dolls or not and could have possibly not gotten an Olivier nomination for Oklahoma! And he said that to me, and it cracked me open. I think because it just told me to not worry about the acclaim but just focus on making good art. I took Guys and Dolls, and I got two nominations back-to-back, so it all worked out.

In the future, how would you like to be remembered?

I want to be remembered as a trailblazer – someone who didn’t conform to what they think women, especially Black women, should be. I want to leave behind roles that women can play for years. I want to make sure people know my story so they know they can do it too. It doesn’t matter where you come from, or what you look like, you can make your dreams come true.

Have you had the chance to see many shows in London?

I have. I go see my friends in shows all the time, because I love supporting them. I think it’s important to see other art too because it inspires you and hopefully makes you better.

What’s your favourite show (play or musical, fringe or West End) in London right now, other than Cabaret….

I’m gonna say Titanique, because we need a really good laugh, especially with what is going on in the world. The voices in that show – WOW!

Catch Marisha in Cabaret at the Playhouse Theatre until the 24th May.

Tickets from kitkat.club

Words by Helen Keegan

Photos by Danny Kaan