Georgina Onuorah on her RSC debut and her admiration for Whitney White

It’s cold in Stratford-upon-Avon, but the atmosphere inside the Royal Shakespeare Company’s (RSC) rehearsal rooms is electric. Having dazzled audiences in countless West End smash-hits, Georgina Onuorah is preparing for a landmark project that promises to redefine how we view Shakespeare’s most complex characters.

Onuorah is making her RSC debut in the hotly anticipated All Is But Fantasy, a two-part gig-theatre event by the Tony-nominated, multi-hyphenate artist Whitney White. The production, set to run at The Other Place, is a visceral mash-up that revisits the stories of four of the Bard’s most famous, self-destructive figures – Lady Macbeth, Juliet, Emilia, and Richard III – all set against a “red-hot” soundtrack of rock, soul, pop, and gospel.

For Onuorah, whose career has seen her take on dream musical roles like Oklahoma‘s Ado Annie and Little Shop‘s Audrey, the move to the RSC, and this play in particular, represents a calculated step forward. “RSC has always been like a dream venue for me,” she admits. “But I definitely want to step into a new part of my career where I do things that challenge me.”

And a challenge it is – while a revisionist twist on Shakespeare, don’t expect anything similar to what Onuorah did in Kiss Me, Kate at the Barbican. While All Is But Fantasy features music and tight harmonies, it is, at its core, a radical, all-encompassing piece of theatre. “It’s so challenging, but such an unbelievable piece,” she says. “As soon as I read it, I knew I wanted to be part of it. We’re challenging things people may never have thought about before. It’s the mix of gig theatre, music, Shakespeare – exploring storytelling on a fundamental level.” But Onuorah is quick to stress that the music is far more than just a novelty. “If you’re a fan of unbelievable music – and I do not say that lightly – it’s just unbelievable. Every style is within this. It’s gorgeous, detailed theatre.”

The show’s visionary force, White, is a major draw. Hailing from the US, White is renowned for her bold, visceral work, notably her Shakespeare-inspired musical, Macbeth in Stride. For All Is But Fantasy, White is serving as director, writer, composer, and, crucially, a performer in the show – a dynamic that is shaping the rehearsal room.

“She’s everything I thought she would be. She’s a tour de force,” Onuorah states with clear admiration. “And she’s actually in the play as well, which makes for a completely different dynamic. It makes for more intimate, creative story-making.”

This less hierarchical, more collaborative process is one Onuorah relishes, having recently worked on the workshop for Todrick Hall’s Midnight musical with a similar structure. “I love that – it opens a whole new avenue where the director isn’t speaking from the outside but from within the company.”

The heart of Onuorah’s role is as the Second Witch, one of three who act as a chorus to the four Shakespearean anti-heroes. But don’t expect any “Double double, toil and trouble” clichés.

“No, it’s not that,” Onuorah affirms. “We’re reinventing it. We played a lot with Black spiritualism and ritualistic vibes – how can we be witches without the stereotypical version?” She explains the focus is on a profound sense of “witchcraft and divine femininity,” exploring the power of the female form. “We play with all its aspects. There are lots of ways our language and bodies can express witchcraft and sorcery without it being magicians.”

This reinvention is at the core of the whole piece, which tackles the essential question of why these centuries-old words still matter. For Onuorah, the chance to speak Shakespeare’s words in Stratford-upon-Avon is special, but the fact that the company is made up of Black, queer women exploring these classic narratives makes it profound. “What we’re investigating probably hasn’t been explored like this before. It feels special to reimagine these words in this iconic house.”

She feels the RSC’s decision to programme this piece sends a clear message: “We love Shakespeare, and we want to investigate him in new ways with a 2025 lens while honouring the history.”

What has Onuorah done for the first time on this project, I ask: “Improv! It’s been so challenging but exciting,” Onuorah says, describing how White encourages a safe space where they follow instinct in both movement and vocals. “We learn a song, then she says, ‘Okay, these 32 counts – whatever you want.’ Each time we play with something else.” This approach forces the ensemble to listen closely and let the environment affect them, a scary but ultimately liberating experience.

All Is But Fantasy will play at The Other Place in Stratford-upon-Avon, split across two parts: Lady Macbeth, Emilia and Juliet, Richard III.

See the full casting story here.