Gosh, after 25 years it’s hard to be brief! I’ll pick some faves. In the UK my ‘big break’ came when I was cast as Mabel in Mack and Mabel. My first Olivier Nomination for Best Actress in a Musical. Other roles include Cassie in A Chorus Line, Josephine/Monica in Romance Romance, Angel in The Rink, Lizzie in Baby, Ellie-May in Showboat, The Witch in Into the Woods, Cabaret, Original cast of Me and My Girl, Damn Yankees, Street Scene... Film: Ethel Merman in De Lovely.

In Australia, Velma in Chicago, Anita in West Side Story, Piaf in Piaf, Aldonza in Man of La Mancha, Fanny Brice in Funny Girl, Judy Garland in End of the Rainbow... Concerts of Gershwin and Bernstein with the Adelaide, Melbourne, Sydney Symphony Orchestras.

Film: Nini Legs in the Air in Moulin Rouge.

My parents are originally from Ireland. However I was born in England. After my family migrated to Australia I began Irish dancing at 4 yrs old and won my first State Championship at six! This lead to my parents moving from Adelaide to enable me to train at the top dancing school in Sydney, Australia, The Ransley School of Dance. They also taught Classical Ballet, Tap, and Jazz. I was hooked! Irish Dancing: I won 4 state championships, 3 All Australian Championships, and 3^rd in the World Championship in Dublin. Then at 17 I was accepted into The Royal Ballet School in London for 2 years training. So my technical training was at the very highest level. So even though my path changed and headed towards Musical Theatre, I know that having a strong technique and training has been extremely important as regards to competence and longevity. I would have loved to have been a classical ballerina, but it was not meant to be. Fate stepped in and guided me towards my true calling!

At a very young age I had always loved listening to, and watching musicals, and used to sing constantly! So vocally, I think my training was just through literally singing everyday. When I was about 11 years old, my parents bought me the LP of Gypsy. Ethel Merman was the most extraordinary performer I had ever heard! I memorized the entire album and thus began my collection of Musical Theatre recordings. My parents are great music lovers and even had a 78 box set of South Pacific! A Chorus Line also made a huge impact, when I realized there were roles that required the three elements: Singer, Actor AND Dancer at the very highest level! Plus when Donna McKechnie sang those lyrics in ‘Music and the Mirror’, I knew exactly what she meant. There was a connection for me. I understood the passion and the desire and I instantly knew I wanted to pursue a life in the theatre. I cried like a baby when Bob Fosse passed away because I had always dreamt of working with him. The Films : Sweet Charity and Cabaret, Guys and Dolls and All That Jazz and of course Gypsy were also big discoveries for me and further concreted my love of the form.

You’ve played a number of real-life characters, including musical theatre legends Ethel Merman (in the film DE-LOVELY) and Judy Garland (in the Australian stage show END OF THE RAINBOW). What did you learn about these ladies while "crawling into their skin" that helped you to better interpret them?

Firstly I think it helps a great deal if you genuinely admire the person. You truly want to try and find out what made them tick. I’ve had this experience on three occasions: Piaf, Ethel Merman and Judy Garland. I find that research is invaluable. And makes the process all the more interesting. I read all the books I can get my hands on. Listen to and watch footage of their performances endlessly, surround myself with photographs, and as I am not a mimic, the most important factor for me is to try and find their emotional reason for being. It is exhausting, and a huge responsibility. I can relate to their ‘desire to express’ as a performer and feel that all that happens to you in your life, has an effect on you as an artist. Some of your joy and pain, you often use to your advantage. But often, as in their cases, it can be personally detrimental. The two become entwined as their professional life takes over their personal life. They were at a stratospheric height. For instance Judy Garland is regarded as the "greatest live performer of all time". That element I can only try to imagine and then emulate. Daunting, but nevertheless, I find it fascinating, inspiring and most importantly challenging as an actress.

We last saw you on Broadway as Velma Kelly in 2002 in the current long-running CHICAGO revival. Any plans for future Broadway appearances?

As I now have my Green Card, ‘Hint Hint’ Hooray! It certainly is more of a possibility. I’d love to take Bombshells to New York. And Piaf. AND..End of the Rainbow. And I’m open to offers? But it really does depend on what’s being produced or if there are people brave enough to take a risk with something new and original. My trips to New York are certainly more frequent so who knows? Watch this space. Working on Broadway was one of the proudest moments in my life. A dream come true. Especially for a Girl from OZ.

You were also the only Australian performer asked to participate in last year’s 10th Anniversary Chicago Gala in New York. Must have been quite a treat mixing with all those other Velmas and Roxies. Could you please tell us more about that night?

WOW! Don’t get me started! It was a magical week. Firstly I have to say that I have always idolized Chita Rivera. She is the epitomy of the term "triple threat", so to be on the same stage as the great woman herself was an honor and a privilege. And when she came up in that lift the audience roared like I’ve never heard before! (She, and Gwen Verdon, were the reason I had always wanted to do Chicago!) The whole cast were charming and glorious. Everyone was excited to be a part of such an historic Chicago celebration. And to top it off, raised a lot of money for a great charity. And it was heaven to catch up with the cast, crew and orchestra of wonderful people I had worked with previously on the show.

That’s a great question! A perfect example of that dilemma was when I played Fanny Brice in Funny Girl. I was pretty terrified at the prospect of following in the enormous footsteps of the great Barbra Streisand, as she is so associated with that role. I had to keep reminding myself that I was playing FANNY BRICE not Barbra Streisand!

Great actresses will always be firmly attached to the roles that made a defining impact in their careers, which makes the job so very hard for those who follow. We can’t help but be influenced by their choices because they have obviously worked! And often audiences who are familiar with the particular show or role expect some similarity, or else!! But it’s so enlightening when you feel you have discovered some different nuances to contribute. I remember when I came to New York to play Velma, the critics remarked that my interpretation of the role was very different to Bebe (Neuwirth) and others. I was very happy that they noticed some of my own personal choices and that Walter (Bobbie) and Annie (Reinking) allowed me to bring something of my own to the table. I was however influenced by Chita Rivera’s creation. Although I never got to see her play the role, I’ve only heard the recording. I personally loved the humor and desperation of Velma, plus the name "Kelly" screams Irish background to me! I think you have to be brave.

Are there any musical theatre roles you haven’t tackled, but would like to in the future?

Oh yes of course. Some dream roles I’ve already been lucky enough to have played! But in the future I’d love to do ‘Adelaide’ in Guys and Dolls, ‘Mrs Lovett’ in Sweeney Todd, ‘Mama Rose’ in Gypsy (I already know the score!) ‘Phyllis’ in Follies, and would you believe, ‘Eleanor of Aquetaine’ in The Lion in Winter, to name a few. But I’d also love to "create a role" that other performers would long to play in their future.

A) The Widow. She was 57 and English. A lifetime of experience and opinion. But I loved her because she challenged me. I had to convince the audience that they were listening to dear ‘Winsome Webster’. The monologue is truly wonderful. This strong but sad and lonely reader has an exciting and unexpected sexual awakening with a young blind student.

B) The Diva. Zoe Struthers. Your-worst-Nightmare-B-Grade American Cabaret Artiste. An Amalgam of all those desperate, drunken, self-indulgent belters. With sad patter full of tales of woe. I always joked that it would be me in 20years!

C) Mary O Shaunnessy. 15 and Irish. Which is sadly, loosely based on myself! But with a large dose of the current craze of young wannabees, who demand immediate fame, wealth and recognition. But she’s funny. Really funny. And her talent show entry of "Shaft" is indescribable.

But I do also love the other three characters. ‘Tiggy’ Entwistle, the deserted wife from the north of England who joins a Cactus Appreciation Society. Meryl Davenport, a non-sop 20 minute rant, representing the demands of mums… To be ‘the best’ Mum, Wife, Daughter, Friend, Career woman etc. And lastly ‘The Bride’. Or Bridezilla more like. Aussie Theresa McTerry, who hesitates at the altar.

I loved doing this show because there was always a great response from the audiences because they recognized themselves in either one, two or in some cases all of the female characters! And the men did too! It also was my second Olivier nomination. This time for Best Actress in a Play.

Barrie becoming my manager, just sort of evolved. When my career really started to take off, I was asked to do more solo work and his extensive experience as a musician was integral when it came to organizing arrangements and musicians. He is a great organizer and his input allows me to solely concentrate on the work I have to do. I can focus on my choices of what I want to do with whom, and he can arrange the when and how. He also knows me better than anyone and knows what I am interested in. He is incredibly supportive and as enthusiastic about the industry. We just see it from different sides. In ‘Show business’, I’m the show, and he’s the business! Also as time has passed, I have been working on three continents, Australia, Europe and America, which is difficult to juggle, but having him run the ship allows me to take in the view! Don’t you love analogies? But it may not be for everyone !

What are some of your upcoming stage, screen or recording projects?

I am currently in rehearsal for On The Town, playing Hildy Esterhazy with the English National Opera Company at the London Coliseum.

Please visit my website carolineoconnor.com where you can find out about past performances, current productions or upcoming appearances. Photos and video footage. Plus all my CD’s are available online. You can also write a message in my guestbook.