There’s a certain moment in every theatrical production when the boundaries between fantasy and reality, the audience and the stage, dissolve. Jonathan Roxmouth, master of the musical, admits that he’s addicted to that moment.
And has been, ever since he was a kid. “As an only child, you grow accustomed to being the centre of attention. With family members always saying ‘go do something amusing for us’, I had a contract to entertain them.”
His talent for wit and drama was honed further at school. On the one hand, as a self-described “overweight” child, he learned to make the class laugh before they could turn the laugh on him. “The minute you get that first giggle, there’s no going back,” he admits. At the same time, he was fortunate to attend a school where the principal believed that the drama students should have just as many opportunities to tour as the rugby stars – and so, by the time he had finished matric, Jonathan had already appeared in five full-scale musical productions at the Natal Playhouse.
By now, there was no doubt in Jonathan’s mind that he had found his course. And so, when he got the chance to audition for a production of Grease at the Barnyard Theatre, he wasted no time. This “sweaty audition”, as he self-deprecatingly describes it, would give rise to one of the most important relationships of his professional life: not only did director Ian von Memerty, one of South Africa’s entertainment icons, cast him on the spot; he would go on to become Jonathan’s mentor. “Ian put me in the right spot, with the right people, at the same time. He shaped my work ethic; he taught me that working hard is more important than being brilliant, so I became a beast – and I found that the harder I worked, the luckier I got.”
It was also Ian who introduced Jonathan to Pieter Toerien when the duo toured the mogul’s theatres with Ian’s much-loved production, A Handful of Keys. “If Ian taught me about the showmanship of theatre, Pieter taught me about the business side,” Jonathan reflects. With these two greats serving as the pillars of his career, it was inevitable that Jonathan would go from one curtain call to another – more than 20 of them, in fact, including not only concerts, plays, reviews and musicals, but also his own shows. (And, no, in case you’re wondering – those nerves never fade, no many how many times you’ve watched the curtain rise. In fact, Jonathan says that he has made a deal with himself: the day he can take to the stage without feeling terrified is the day he applies for a job at the post office.)
It goes without saying that some roles strike a chord more than others. But, having faced turmoil as Che in Evita, terrified the audiences of the Paris Opera House as the Phantom of the Opera, and tried to woo a reluctant Belle as Gaston in Beauty and the Beast (his first main role), to name just a few, he confesses that his ultimate role would be one written just for him.
Until that happens, he’s (more than) satisfied with some of the moments of pure magic he’s enjoyed on stage. His favourite? Key Change at the Montecasino Theatre. “I was performing with friends in the band, and because I was telling my own story, I felt it was the most authentic I have ever been on stage. The audience response was phenomenal, which made me feel really seen. As a performer, you’re always getting applause for pretending to be someone else. This time, I was applauded for being me.”
Jonathan’s latest venture sees him returning to Montecasino; this time to the Teatro, where he’s hosting My Favourite Broadway; a collection of songs from the musicals he considers most memorable. “I have a connection to this material and to the theatre itself – I have performed here so many times.” In fact, it was the site of Jonathan’s last performance in a musical in South Africa, seven years ago, before he was whirled away for years of overseas tours and staging his own shows. As such, it’s a homecoming – and he’s eager for audiences to enjoy it as much as he will. The show has been almost a year in the planning, with costumes so flamboyant even his tailor – by now accustomed to Jonathan’s whims – raised an eyebrow.
From here, he’ll be travelling back in time to the 1920s, to help acquit villainess Roxie Hart of murdering her husband as slick-talking, quick-thinking lawyer Billy Flynn in Chicago The Musical, on stage at Montecasino later this year. “It’s the closest I will ever get to fulfilling my mother’s dream of seeing me become a criminal lawyer – I personally lost interest when I found out South Africa doesn’t have a jury system so I wouldn’t be able to perform in court.”
The court’s loss has most certainly been theatre’s gain.
Details: jonathanroxmouth.com; @jroxmouth
Jonathan’s wish list
Any roles Jonathan would love to try?
“First off: Fagin from Oliver. What an outrageous character! The film was on TV all the time when I was growing up, so I can still see Ron Moody twisting his fingers. Also, I’ve never worked with kids and, if there was a kid out there like me, in love with theatre, it would be amazing to play a part in getting them completely hooked.
“Frank n Further in The Rocky Horror Show would also be great – no one would see it coming.”
“And, finally, Willy Wonka – Gene Wilder style – because I’d be able to combine three of my greatest loves: acting, chocolate, and applause (if I got it right).”
MY FAVOURITE BROADWAY runs at the Montecasino Teatro on Friday, July 25 to Sunday, July 27 and Friday, August 1 to Sunday, August 3, 2025. Tickets on sale at Webtickets.co.za.
Text: LISA WITEPSKI. Photo: Jaco Bothma, Empire Photography
