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Michael Ball stars as Tubby in That Day We Sang. Michael is a well-known singer, actor, comedian and broadcaster, best known for his popular musical theatre roles. As well as playing Marius in Les Miserables, he won Olivier Awards for his turn as Edna Turnblad in Hairspray and more recently, for his performance as Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street. Here, he discusses his character, working with Victoria Wood and why That Day We Sang is a special project.

What first engaged you in the script and the character of Tubby?

Tubby is fundamentally a decent, morally sound and lovely bloke, but very lonely. He grew up with his mum after his father walked out on them. It was a very impoverished, tough upbringing. He has devoted his adult life to look after her because of this. He’s a pretty successful insurance man and made a good living but has made some bad choices and has not engaged in life as well as he should, possibly because of the circumstances of his childhood. Tubby has completely closed himself off from having a relationship and has sought solace in food. It’s only once his mum dies, and he meets Enid does he slowly realise all the chances he’s missed and thinks ‘I’m going to go for it’.

What does he see in Enid when they first meet?

He sees a kindred spirit, a soul who is just like him in that she’s 'missed the boat', in his words. He sees someone that isn’t prepared to change her life, that is scared and that awakens something in him. He wants her to be brave, to make the right choices for them to both be happy. It takes Tubby to make her brave.

Have you ever wanted to work with Victoria?

I’m a huge fan of Victoria; she is a genuinely brilliant writer and an amazing director. I have watched all of her shows and can literally quote her better than she can quote herself. Victoria knows the technical side, but really understands actors. She knows what we need and is really articulate and able to share that information with you. That paired with working with Imelda, I had the best time. It was joyous, and lovely for me to stretch myself in an area that I haven’t done before. It’s very different from working on stage, a very different technique. Normally, you get the choreography and do it over and over again. But this is bit by bit. I didn’t know what Victoria would be like, but she’s just brilliant. We didn’t stop laughing.

Victoria’s script has real heart. Why do you think that’s going to appeal to audiences?

I can’t imagine anybody not enjoying it. All of us will be able to identify with the characters. We will all of a sudden want to be in a musical, to be in a number in real life. We’re making the fantasy real.

How did you start, with the script or the musical numbers?

The fantasy numbers started with us learning the music and the song with Victoria. I got sent the script and went away and learned it, then sat with Nigel, the musical director. We went into the recording studio and decided how long we wanted the dance breaks to be and the rhythm. We recorded first, then choreographed, then played it back. We probably spent three days on choreography, a day in the studio to put down the track and sing it, and then rehearsed.

You’re in a position to appeal to an audience that doesn’t normally go to musicals, what would you say to them?

There is a reason why musical theatre is as popular today as it ever was and in some ways, more popular. People who don’t realise what the art form is, keep coming back. So, don’t turn your back on something because you don’t know it. You have to be in the live atmosphere. It works, it moves, it forms. That Day We Sang is unique, it’s special, I just hope that people will absolutely love it and we will set another trend.