By BRUCE DENNILL
Jessica Driver plays the Fairy Godmother in The Big Bad Musical. Driver studied Musical Theatre at Stageworx Performing Arts School from 2016, where she obtained her LTCL Diploma through Trinity Guildhall London. She has been teaching at Stageworx full time since 2025, passing on her knowledge to all the young performers. Driver played Sherrie in Rock of Ages, Holly in Santa Claus Is Coming To Town, Agnetha in Dancing Queen – A Tribute to ABBA and Simply The Best – A Tribute to Tina Turner
In the lead-up to a new production, how do you prepare:
In preparation for a new show, my approach really depends on the nature of the production, whether it’s dance-heavy, vocally demanding, or a mix of both. I focus on being as prepared as possible learning the material thoroughly, collaborating with new people and absorbing as much as I can. I always want to walk away from a production with new skills and insights that I can then pass on to my students and integrate into other parts of my career.
Physically…
Physically, I always try to prioritise getting enough rest and sleep, as I believe it’s one of the best ways to support the body during a demanding production period. I also enjoy attending a barre class or doing a workout before a weekend rehearsal, just to get my muscles warm, activated and ready to work. With this particular role, I’ve also had to focus on developing the character’s physicality. She is quite an elaborate character, so exploring the way she walks, moves, speaks, and carries herself has been a really exciting part of the process. It’s been interesting to discover how those physical choices help bring the character to life.
Mentally…
Mental preparation for this character has been such a fun process. She is a comedic, light-hearted character, but she also has a strong sense of purpose. She is a lawyer who is always ready for a fight, especially when it comes to taking on the Big Bad Wolf. Exploring that contrast has been interesting, particularly in her interactions with the Evil Stepmother. On the outside, the Fairy Godmother is warm, kind, and funny, but underneath that she has a clear agenda in the courtroom. Finding the balance between her humor, heart, and determination has been one of the most exciting parts of preparing for the role.
And emotionally?
Emotionally, the Fairy Godmother isn’t necessarily a complex character on the surface, but I’ve enjoyed exploring what drives her underneath. I’ve had to create strong intentions and actions for her in order to understand why she became a lawyer and why she is so determined during her cross-examination of the Wolf. She is confident and dramatic, but at her core she is also incredibly hardworking and compassionate. She genuinely cares about the good people of the forest and wants to protect them, which gives her a strong sense of purpose throughout the story.
What is the single most influential performance you’ve ever seen – the one that made you feel: “This is what Iwant to do with my life!”?
I have two significant performances that I will never forget. The first was seeing The Lion King at the Teatro when I was 10 years old. The magic, storytelling, and scale of that production completely captivated me, and it was the moment I became fascinated with musical theatre. However, the performance that truly made me feel, “This is exactly what I want to do with my life,” was West Side Story at the Joburg Theatre. I had goosebumps throughout the entire production. It was so powerful and captivating. Not only did it move me emotionally, but it inspired me to fully dedicate myself to this industry. Watching the performers tell such a passionate story through acting, singing, and dance made me realise that this was the kind of work I wanted to be a part of.
What is your favourite aspect of the industry – be it specific people, parts of the production process, particular venues/locations or something else?
My favorite aspect of the industry is the incredible community of creatives. I’m inspired by performers who get brave, take risks and create their own work, especially when they bring in friends and collaborators they’ve worked with or studied alongside. I know the industry can be tough when work is scarce, so seeing others step up and build their own projects is really powerful. I also love the production process. In The Big Bad Musical, I was there from the beginning, seeing it evolve from an original show years ago into something brand new. Now we’re bringing it back to the theatre, re-imagined, with a whole new creative team and being part of that process, seeing performers think beyond just acting, singing, and dancing, but also creatively shaping a whole world – that’s what I truly love.
What is an aspect of the industry that you feel could be improved (even if that’s only an idealistic wish)?
Having a wider range of dynamic plays and musicals in South Africa. It would be incredible to see those big Broadway and West End shows come here, so we could see our performers in new lights, tackling different styles and genres. I also wish we had even more support from our audiences. While we do have passionate fans, I would love a bigger community that truly respects and embraces theatre, even beyond the industry. And I hope that we can see more support from the government. Financial backing would allow us to grow and give more, so we can put even more onstage.
What has been your scariest on stage moment so far (anything from forgetting words or cues to accidents or other unforeseen events)?
I think my strangest and most surreal onstage moment was when I was performing Tina in New Zealand, and we received an earthquake warning during the show! We had to pause and evacuate the building, and being a South African, I wasn’t really sure what the protocol would be if something like that happened onstage.
Tell us about your current show, the role you play and what makes your character interesting to play?
The production is called The Big Bad Musical, and it’s a really fun twist – all about the Big Bad Wolf being put on trial for all of the things he’s accused of. As the Fairy Godmother, I get to bring a fun, comedic energy to the show as I cross-examine the Wolf, present my witnesses and work to convince the jury, who are actually the audience, of his guilt or innocence. What makes it so special is that the audience is the jury, so it’s a super interactive, family-friendly show, with original music, lots of comedy, and a mix of dancing and acting. It’s a fun, uplifting experience!