Blessed to be on stage
Over the past 40 years he’s become an Australian showbiz legend renowned for his versatility, but the 18-year-old Todd McKenney began his professional career as a dancer, with the same practical goal as everyone else: to work.
That, he quips, was his only grand plan upon leaving Perth prepped in jazz, tap, ballroom and acrobatics. By then, dancing for him was as natural and effortless as walking, having started aged just three in his young mum Peta Norton’s Perth studio. McKenney quickly achieved his aim of being known as one of Australia’s best commercial dancers.
On the advice of performer, choreographer and producer Kevan Johnston – who with wife Jill Perryman received the 2013 Equity Lifetime Achievement Award – he then developed his “singing chops”, and moved up to featured and lead musical theatre parts – notably 42nd Street, West Side Story and Anything Goes – before achieving a long-term goal “to be the star of a show and for people to know who I was” in 1998. Playing Peter Allen in The Boy From Oz was the role of a lifetime, showcasing McKenney’s charisma and absolute physical prowess.
It was also career-defining. On top of winning public and critical acclaim, Helpmann and Mo awards, doing 1000 performances until 2000 turned the boy from Perth into a household name with a loyal fan base that he’s kept building. A quarter-century on, that link remains indelible and its legacy continues to serve him.
Portraying Allen in concert taught McKenney to talk to an audience, which led to roles on stage, screen and radio drawing on his quick wit and cheeky personality. Of those, he credits being a judge on Dancing With The Stars (continuing for 17 seasons 2004-2023) with “changing everything because that got me into the television world and opened so many other doors.
“So it's just been a gradual diversification without me really planning it,” he continues. That ongoing evolution has also more recently led to screen and stage acting roles. The 59-year-old remains one of our busiest – and most bankable – artists.
What drove McKenney when he started out still does now: “I just love working,” he states. “I don't care what I do as long as I'm working, and as long as I like it. So I've always said yes to everything and that's the best advice I can give the younger generation of dancers and theatre performers today.
“Surround yourself with the right people and don't think you're above anything. I've always had that work ethic, and often it's at those small shows where I've met people who have opened doors to something else.”
Even now, that still holds true – the small part of Wilbur Turnblad in Hairspray playing opposite good mate Shane Jacobson led to his current “massive role” in The Odd Couple because “we loved working together on stage”. After opening in Melbourne in May, the classic Neil Simon comedy is playing in Sydney until July 28.
Then he is rejoining the rebooted production of Wicked when it flies into Brisbane on September 12.
Now Broadway’s fourth-longest running show ever, the blockbuster rates as a true musical theatre phenomenon. It’s played to more than 65 million people worldwide in 16 countries and won 100-plus major international awards, including a Grammy, Tonys, Oliviers and six Helpmanns. That stature is set to soar even higher when the first instalment of the two-part film adaptation hits screens in November.
McKenney’s spin on the part previously played here by icon Bert Newton, Simon Gallaher and Rob Guest puts an uncharacteristic spring in the Wizard’s step.
“I’d made him a much more youthful energetic Wizard than anybody else who's played him,” McKenney recalls associate director Lisa Leguillo observing. “I said, ‘Are you saying I'm too young?’ – which is not a bad thing for someone to (suggest) at this age!” the veteran chuckles. “She replied, ‘No… but we just might use your youthful athleticism in the role.’”
That of course was music to McKenney’s ears given that the one role he admits he’s still getting used to is that of “elder statesman”.
“Someone called me (that) and I nearly died! But I suppose that I am. It’s odd when you start hearing people say it.” Especially since he’s well-known for loving an environment where “everyone works really hard and is respectful, but they're also naughty backstage”. So when he was asked to speak as the sensible senior to a cast who looked up to him, he did it thinking, ‘Oh my God, I should be talking to myself!’”
Joking aside, he does like having younger performers ask his advice, as they did on Hairspray. “It’s 40 years, and I do know stuff. I'm just blessed to still be doing it.”
So he’s grateful for having been able to transition into smaller character roles that are enjoyable and fulfilling “without having to bust my gut physically. I could never do Cats again; I could never do Boy from Oz again. It’s nice not to wake up in the morning with your body aching.”
Like many of his professional contemporaries, McKenney has dealt with acute and degenerative injuries; he’s had a hip replacement and double shoulder reconstruction. Therefore although the Wizard is a pivotal role and his nimble incarnation does “more dancing about than most”, that component is relatively small for McKenney.
From October 16 to 23 he’ll revisit his other Oz persona, performing Peter Allen songs in his 70-minute show as a headline act onboard the BRAVO Cruise of Performing Arts 2024.
For passengers it’s a unique opportunity to see an exclusive line-up of internationally-renowned musical theatre, opera and music artists perform – and to mingle with them.
“I like meeting my supporters; they're the backbone of what I do,” McKenney declares. Outside of organised events including Q&A sessions, meet-and-greets and workshops, they might also cross paths as fellow guests, at meals or by the pool.
BRAVO’s ethos of egalitarian accessibility extends to unreserved ticketing for the main theatre’s 797 seats, to give all guests an equal chance to secure prime viewing.
Having entertained when BRAVO Australia first set sail in 2018, McKenney knows first-hand how well the cultural smorgasbord of 40-plus artists satisfies a range of tastes and appetites.
“You’ve got people hanging over balconies while the opera’s in full flight in the ship’s atrium. Then you go into a bar and there's somebody doing Gershwin over lunch, and at night someone's singing Joni Mitchell. It’s fun.”
For his own show, he enjoys having additional musical possibilities provided by The Metropolitan Orchestra’s accompaniment. Fans can expect big band material featuring strings and horns, then strings with intimate piano tunes and Peter Allen repertoire, “which gives it another flavour”.
Dance lovers can be especially excited that there is one other genuine triple threat atop this year’s bill: multi-award winning international star Ruthie Henshall, who notably played both Velma and Roxie in Chicago on Broadway and in the West End.
Starting in the 1980s like McKenney, the British all-rounder also did Cats and Crazy For You – but different productions. They do however share another, more significant, connection that may present passengers with a very special bonus. Henshall played Liza Minnelli in the Broadway version of The Boy From Oz, so while they haven’t met, McKenney will float singing something from the show together. “I’m definitely going to ask her,” he promises. “That’d be great!” 
- OLIVIA STEWART
This article is in the current July/August/September issue of 'Dance Australia'. Grab it before it disappears! You can buy from your favourite dance retailer or here or here.