MEET ALEX WOODWARD
1. What first drew you into theatre — was it the music, the storytelling, or the
energy of being on stage?
I actually came to theatre later in life…terrible I know! But I was 18 and in London with my family visiting my brother and we decided to see a show because that’s what you do! Little did I know I was about to see Wicked with Idina Menzel and Helen Dallimore and I would fall in love with theatre from that day forward. The energy was electric and I knew I had to work in theatre from that night on!
2. You’ve performed, produced, and directed — which hat feels most you and why?
Producing is where I feel the most “Alex.” I love being the one who brings all the
moving parts together — I often described when I performed as being a part of a
watch whereas being the producer you’re the watchmaker. The creative spark, the
logistics, the audience connection. It’s basically controlled chaos with a sprinkle of
magic. And I get to build shows that welcome new audiences into theatre, hire lots
of people, and make theatre for everyone, not just myself.
3. If you could relive one show you’ve worked on, purely for the joy of it, which one
would it be?
A Very Naughty Christmas in London. That experience was a genuine pinch-me
moment — taking a Brisbane-born adults-only Christmas show to the West End and
watching it land so well! I’d relive that whole season in a heartbeat.
4. You’ve got a background in both pop music and theatre — how do those worlds
blend (or clash!) for you creatively?
They actually blend really naturally. Pop music taught me about immediacy — hooks,
energy, connection — and that has shaped how I build theatre. I like shows that feel
accessible, alive, and a bit like a party, which is exactly the vibe of Plied and Prejudice or A Very Naughty Christmas. The only clash is the number of sequins I’ve accumulated over the years.
5. Everyone has that “pinch-me” career moment — what’s been yours so far?
Producing The Woman in Black for an Australian tour and seeing over 75,000 people come through the doors was huge. But taking A Very Naughty Christmas to London… that was the one where I thought, “Wow. This is actually happening.” It felt like the start of a whole new chapter.
6. If you could collaborate with any performer, living or gone, who would you pick and what kind of show would you create together?
I’d love to collaborate with someone like Robin Williams. His ability to flip from heart to chaos in a second was always incredible and I would have loved to see him on stage! His theatricality really aligns with some of the shows we make.
7. What’s something audiences might not realise goes on behind the scenes of a
Woodward Productions show?
Just the sheer volume of work…. I personally work 60 – 70 hours a week and the rest of the team, Sophie, and Emily also go above and beyond to put shows on stage. It’s kinda like the Olympic marathon but with excel spreadsheets and creative collaboration.
8. What’s your go-to ritual before stepping on stage — or do you prefer to just dive
straight in?
Alas I can’t afford my own wage to put me on stage haha, I’ve priced myself out so I
never have to again…
9. If your life so far were a musical, what would it be called and what genre would it
fall into?
It would be called “Overcommited: The Musical.” Genre-wise? A pop-infused comedy
with heartfelt moments.
10. Finally, what’s next for you — any dream projects or stories you’ve been itching to bring to life?
I’m excited about expanding Woodward Productions’ slate — continuing to build
gateway theatre experiences and taking more Australian-born shows international. We have also just announced national tours of Steel Magnolias the Play and the
Olivier Award Winning musical Pride & Prejudice* (*sort of).