Their Show Was Queer and Cancelled. What Did They Do?
In 2024 Rob Madge's critically acclaimed show, "My Son's A Queer (But What Can You Do?)" was scheduled for a Broadway run, but was abruptly canceled just 19 days before it was to start previews at the Lyceum Theatre. While no official reason was given, it was speculated that poor ticket sales and lack of investor's confidence led to the decision.
"Devastated does not begin to cover it," Madge said the day after the decision. "It's all pretty raw — the decision was made only yesterday so forgive me if I struggle to discuss it too much. BUT as emotional as I am I know that this is absolutely the best thing for the show... see you next season." He subsequently did a British tour of the show last summer.
But the show was not rebooked for the 2024-2025 Broadway season; meanwhile, the Lyceum found a new tenant: Cole Escola's queer smash "Oh, Mary!" that moved uptown to sold-out houses. (It recently broke the theater's house record with a weekly gross of $1,354,841.)
The resourceful Madge (who defines themself as non-binary) was cast as the MC in the West End production of "Cabaret," but found a way to bring "My Son's A Queer (But What Can You Do?)" to New York where it recently completed a six-performance run at the City Center. To do so, a jet-lagged Madge took a short break from "Cabaret."
This latest turn of events seems fitting for Madge's scrappy, solo piece that has gone from humble beginnings in a half-filled, 50-seat theater to an Off-West End run in 2021, directed by Luke Sheppard ("& Juliet"). Next came the Edinburgh Fringe Festival, followed by London's West End, where it played two limited engagements and was nominated for the 2023 Laurence Olivier Award for Best Entertainment or Comedy Play. In addition, Madge won the Theatre Award at the 2023 Virgin Atlantic Attitude Awards and was a joint winner of the Best Creative West End Debut Award at The Stage Debut Awards in 2023 (as writer).
In this autobiographical, one-person show, Madge shares their own childhood home videos that they would put on in their living room for their extremely supportive parents. They talk to the audience from their childhood living room while above is screened grainy VHS footage of them as a child. In the clips, the meticulous Madge is seen enlisting their father in homemade stagings of Disney films like "The Little Mermaid." But despite their family's acceptance, Madge includes snippets from school reports that suggest perhaps they should be playing the Beast and not Belle. And to give it the feel of a Disney musical, there are original songs by Madge and Pippa Cleary.
The charismatic Madge would go on the stage a child actor, appearing in West End musicals like "Mary Poppins," "Oliver," "Les Misérables," and "Matilda, A Musical."
EDGE had a chat with Madge about "My Son's A Queer (But What Can You Do?)" as well as their career.
EDGE: Tell me about the genesis of the play, and how it has evolved since its first appeared in London in 2021.
Rob Madge: I was living back in the family home during the pandemic, where I stumbled across all these old VHS tapes, gathering dust. I discovered these videos of me putting on shows in the living room as a kid, forcing dad to be stage manager, forcing mum to document it all... and I found them hysterical. So, I shared some online, purely to offer up some laughter in a time when we needed it most. The show evolved as a result of comments praising my brilliantly supportive parents and grandparents. We first performed it in a 50-seat theatre in 2021, when certain COVID restrictions were still in place — half capacity, Perspex screens between seats, all audience had to be masked... remember those days? And the following summer we took it to the Edinburgh Fringe, where it was picked up to go to The Garrick Theatre in London's West End. The Ambassadors followed, then along came New York. It's all been a wild domino effect, really.
EDGE: Is the show completely autobiographical?
Rob Madge: Completely. Believe it or not, I really did turn my house into Disneyland and did "The Little Mermaid" with projections and a smoke machine.
EDGE: Your parents were and are super supportive, not necessarily the norm. It's wonderful to have a story like that.
Rob Madge: The show really is a product of several people on the internet telling me how lucky I am to have had parents who support me. I wholeheartedly agree because, sadly, I know the alternative is true for so many. However, I want to challenge the notion that being unconditionally loved by your parents ought to be considered "lucky." It should not be some great act of fortitude if your dad lets you wear a wig. Of course, unfortunately, it still is. My ordinary is still so extraordinary for some, and how blessed, how "lucky" am I to have experienced that. But because we aren't seeing enough examples of my ordinary, because queer stories are still so firmly rooted in shame and trauma, we aren't seeing that this perfectly simple ordinary needn't be so extraordinary after all. With this show, I wanted to make a very purposeful effort to show just how simple it can be to love one another. I wanted to provide an alternative story, where we can be loved and, indeed, deserve to be.
EDGE: These are scary times, and this show is needed right now. Can you speak to queer stories and their urgency?
Rob Madge: If weaponized correctly, I believe art — and, indeed, comedy — can be one of the greatest forms of activism. It is subtle in its approach, taking people by surprise, creeping up on them when they least expect it, and therefore having a great impact. We all have the power to change the world, step by step, in telling our authentic stories. Now's the time.
EDGE: The show was supposed to bow on Broadway last season. What exactly happened? And is there still dialogue going on about a potential Broadway or off-Broadway run in New York?
Rob Madge: Oh, you want all the tea! All I'll say is, mounting a show on Broadway these days is immensely tough. I had to work extremely hard to reframe this show and its purpose in my mind, and I now know that the story will always be valid and important, regardless of the stage it's performed on. If Broadway or off-Broadway or wherever comes a-knocking, who am I to say no?
EDGE: Are you happy that you finally got to present it in front of New York audiences at City Center for a week?
Rob Madge: It's been the most gratifying, overwhelmingly life-affirming thing I've ever done. To finally get the show on in New York has been no mean feat. Back in February, 2024, when Broadway was postponed, I had a choice — either pack it all in, or get to work and ensure this story is told, whether they like it or not! I chose the latter. I'm stubborn that way. And that curtain rising on our first New York crowd has been a culmination of all that work paying off.
EDGE: How did the songs in the show come about?
Rob Madge: This is one of my favorite stories to tell! It was about a week before our first ever show. Luke Sheppard, my brilliant director, said, "This could do with a song." Obviously, I panicked, given that we were due to open in seven days, and none of us had factored songs into the equation. However, he introduced me to his good friend and collaborator Pippa Cleary, and, within that first meeting, we popped a bottle and ended up writing not just the one, but three numbers. Two more followed a couple of days later. Pippa and I just clicked on a level I'd never experienced before or since. It was serendipitous. Now I can't imagine the show without the songs!
EDGE: How has the audience response been, and do you see a difference depending on the area you're performing in?
Rob Madge: What I love about doing a solo show is the audience become your scene partners. You have to focus on their response on a far greater level than if you had a co-star to bounce off. They are so intrinsic to the whole evening. And no audience is the same. Every night is different! Also, what's been refreshing to learn is that — no matter the area — the basic themes seem to have universality. People can relate to these living room shows be it in London, Edinburgh, or New York City. It feels very special. Ultimately, the show is about loving one another, and I think that transcends geographical barriers!
EDGE: The show played the Edinburgh Fringe, which has two million shows going on. How do you get noticed, and not get lost in the shuffle?
Rob Madge: Get yourself a massive Belle dress made out of yellow bin bags, that's all I'll say. Truly, I believe that image sold the show for us! We spent the first few flyering shifts in our normal daywear; no one batted an eyelid. Throw on the Belle dress, however... different story! Be as obnoxiously eye-catching as humanly possible, that's my advice!
EDGE: You made your stage debut at the age of nine and appeared in many West End shows as a child actor. Do you have a favorite role from your youth?
Rob Madge: Michael Banks in "Mary Poppins" will always be so special. It was my first job, and therefore very therapeutic for this little Disney kid who'd frequently slide down the banister, brolly in hand. That and Gavroche (from "Les Miz"), because who doesn't love a cheeky Cockney urchin? Cockney, despite the fact he's French. Don't ask!
EDGE: You're in the midst of doing "Cabaret" on the West End, as the Emcee. What has that experience been like?
Rob Madge: There was a time I was very worried I'd start doing "My Son's a Queer" in a German accent. Juggling the two has been the most challenging, but also most rewarding, thing I've ever done. It's the stuff of dreams. They are simply two things I never thought would happen — performing "My Son's a Queer" in New York, and playing the Emcee, my absolute dream role. So, to be doing the two things simultaneously is, well, hilarious, really. "Cabaret" is a masterpiece and, sadly, still so relevant — perhaps now more than ever. Much like with "My Son's a Queer," I feel a real urgency telling the story.
EDGE: Is there a theatrical role you'd most like to play next?
Rob Madge: Mama Rose. Or the plant in "Maybe Happy Ending."
EDGE: Who would you say has had the most profound influence on you as an artist and as a person?
Rob Madge: Toss up between Howard Ashman and my brilliant parents.
EDGE: What is up next for you?
Rob Madge: Once "Cabaret" is over, I'll be mounting my adaption of "Charley's Aunt," a brilliant farce that I am queering up to the nines. That'll be on at the Watermill Theatre, October-November. Following that, I'll be back at the London Palladium for their annual pantomime, "Sleeping Beauty." As for 2026, stay tuned! Lots of fun new writing projects on the horizon.
EDGE: Happy Pride!