Jack Chambers is currently starring as Bert in the sumptuous production of Mary Poppins at Milton Keynes Thetare.
His musical credits include Kurt Von Trapp in The Sound of Music and Link Larkin in Hairspray, and his dance work includes the Baz Luhrman movie hit, Elvis.
He's a triple threat, though, and as a choreographer and teacher Jack has performed alongside Neil Young and Robbie Williams, and toured the globe with High Jackman in The Man, The Music, The Show.
He spoke with Total MK...
Tell us about your first memory of the theatre
My first memory of the theatre was being in my first musical, Singin’ in the Rain. I was ten, playing young Cosmo Brown. I only had about fifteen minutes of stage time, but I remember sitting in the wings every night, watching the adult cast perform.
Learning their choreography, their lines, everything. It was such a positively influential moment and really sparked my love for the craft.
And the moment when you realised the theatre was your calling
I don’t know if there was ever a single moment where I “realised” theatre was my calling, it’s just always been there.
The stage has felt like home since I was about four years old. I’ve always been most comfortable and happiest performing, so I suppose the calling found me rather than the other way around.
Any dreadful calamities, or funny happenings on stage that you would care to share with us?
Oh, there have been plenty over the years! I’ve forgotten lines, choked on my own saliva mid-song, slipped on stage.
You name it. I’ve even injured myself a few times mid-show but managed to keep going for as long as I possibly could.
That’s live theatre, anything can happen, and it usually does!
Which stage actor, living or dead, would you most like to meet, and what question would you ask them?
I used to say Hugh Jackman, but that was before I had the privilege of meeting and working with him on his world tour in 2019. He’s everything you’d hope he’d be: generous, inspiring, and incredibly grounded.
Watching how he led a company both on and off stage was a real masterclass in professionalism and humility.
Do you have any superstitions, or pre-performance routines?
I’m not superstitious, but I’m big on routine.
Everything I do backstage is just as choreographed as what happens on stage, though I leave some room to play, of course.
If there’s one thing I always do before stepping out on stage, it’s check that my fly is done up!
The best piece of advice given to you when you started in the business
It’s hard to pinpoint just one piece of advice, because I’ve learned so much over the years simply by observing how those above me (the more experienced performers and creatives) work and carry themselves. Watching their professionalism, generosity, and resilience has probably taught me more than any single piece of advice ever could.
But at the core of it all, I’ve always believed in working hard, being true to yourself, treating people the way you want to be treated, and staying humble.
You have worked extensively as a choreographer - tell us about a specific highlight.
Having my choreography performed Off-Broadway in NYC was definitely a highlight.
But beyond that, it’s always the people. Seeing dancers find new confidence through my movement, or feeling like something I’ve created has inspired them to move or create themselves, that’s the most rewarding part.
And - as a man who knows - can anyone learn to dance?!
Yes, everyone can dance! Not everyone can do it professionally though, haha! But dance is just another language.
Anyone can learn to speak it with the right guidance and patience. It’s about rhythm, storytelling, and expression. Confidence often comes before coordination!
What do you think has been your steepest learning curve
Learning how to sustain performance energy and keep things fresh while not letting it completely consume my personal life. Doing eight shows a week demands a lot physically, mentally, and vocally. So finding balance has been a huge lesson over the years.
I’ve learned the importance of switching off when I can, so I still have the energy to live life outside the theatre.
How do you fill your spare time while on tour
I like to explore each city we visit. My first stop is always to find a good coffee or brunch spot. I also spend a bit of time playlist curating; I love my music and enjoy putting together the perfect tunes to match a specific vibe.
It’s a creative outlet that feels very personal and keeps me inspired on the road.
Nerves or excitement? Which takes over just before the curtain rises?
A bit of both! I think nerves are just energy waiting to be channelled. Once the overture starts, it all turns into excitement and focus.
That’s the beautiful thing about live theatre, you’re always right on the edge of something electric.
Finally, tell us about how you are approaching the role of Bert in the show, and sell Mary Poppins for anyone who has yet to buy a ticket.
Bert is such a joyful character. He’s the audience’s window into the magic of Cherry Tree Lane. My approach has been to find his grounded humanity beneath the charm and physicality. He’s cheeky, yes, but he’s also deeply kind and connected to the world around him.
Mary Poppins is a feast for the senses! It’s heart, humour, and spectacle all rolled into one. Whether you grew up with the story or are discovering it for the first time, it’s impossible not to leave with a smile (and probably humming a tune or two).
Mary Poppins continues at Milton Keynes Theatre until November 22. To book your seat visit www.atgtickets.com/miltonkeynes
Pic: Danny Kaan
