JOHN Davies has been a familiar face on the local theatre scene for many years. His latest lead role is in Platform Musicals and Plays production of On the Twentieth Century, which runs at the Headgate Theatre in Colchester next week from November 23 to 26.

For tickets call the box office on 01206 366000.

What or who got you interested theatre? Did you take part in any productions at school?

I was singled out at primary school as a boy with a voice and was made to stand up in assemblies to lead the singing. In the first year of secondary school I took part in their production of Trial By Jury but later was of an age when such things were not considered “cool” by my mates so I just helped put the chairs out in the hall for their production of Sweeney Todd. It could all have ended right there.

Are or were any members of your immediate family involved in the theatre?

When I was 17, my mother, who was a member of the Muswell Hill Operatic Society, persuaded me to be in their production of Trial By Jury, arguing that I already knew the show and they were short of men. This was the beginning of my love of musical theatre. When Muswell Hill Op Soc merged with Finchley

and Friern Barnet Op Soc I was in more shows playing parts such as Joe in Show Boat at the age of 21 (the Ol’ Man River part) and later Danilo in the Merry Widow. After marrying I became a member of the Luton Light Operatic where this time I performed the leading part of Ravenal in Show Boat. Moving again I joined St Albans Op Soc where I took part in several more shows including a repeat of my Danilo role and the leads in Carousel and Wagner's opera The Flying

Dutchman. Since moving to Colchester in 1986 I've been a member of the Colchester Operatic Society where I have had further roles including leads in The Desert Song, Oklahoma, Kiss Me Kate, South Pacific and Fiddler On The Roof. I’ve also performed in many shows and concerts produced by Platform Musicals, including this month’s production of On The Twentieth Century which I’m very excited about.

Who is the most inspiring person you’ve worked with and why?

If I had to single one person out it would be Colchester based pianist, musical guru and friend John Wolton, as he has helped me note bash over the years and is a mine of musical knowledge.

What formal training have you done?

All my training has been either “on the job” or by way of private singing lessons. Having said that, I had a Master Class with the late Elizabeth Harwood and for a while had regular singing lessons with the late English baritone Derek Hammond-Stroud OBE. Derek advised me to “polish the diamond” meaning warm up, exercise and sing at least once a week. Good advice.

Which experience/role do you regard as the highlight of your career to date?

Of the many roles I have been fortunate to play I regard Tevye from Fiddler on the Roof, The Dutchman, and my current alter ego of Oscar Jaffee from On The Twentieth Century to be the highlights in my singing career to date. They all have a special place in my heart.

What has been your most embarrassing moment on stage?

The time I had to sit astride an open backed chair, centre stage facing the audience while playing Freddy in My Fair Lady… and my trousers noisily split at the crotch comes to mind. Then there was the time I was playing a “dying” Billy Bigelow in Carousel and the two men assigned to move me stage centre held me high up by my wrists and ankles and dragged me across the rough stage, depositing splinters in my derrière, which my wife had to remove later that night.

Ever corpsed on stage? What happened?

No, never corpsed but I once was a corpse on stage. At the time my five year daughter reassured the stranger sitting next to her in the audience 'he’s not really dead. He’s my daddy'.