Clive Rowe and Lucie Jones on starring in 'The Baker's Wife' at the Menier Chocolate Factory

Clive Rowe and Lucie Jones star as Aimable and Geneviève in Stephen Schwartz’s musical, which is having its first major UK revival since its West End premiere in 1989.

Given the enormous popularity of the American composer Stephen Schwartz, who brought us shows such as Wicked, Godspell, Pippin, and The Prince of Egypt, it’s astonishing that we haven’t had a major London production of his much-admired musical The Baker’s Wife since 2011.

All the more reason to welcome Gordon Greenberg’s revival of this slice-of-life show, adapted by Schwartz and book writer Joseph Stein from a 1938 French film. It’s set in a close-knit village which is rocked by the arrival of a baker and his restless, much-younger wife, who weighs up her options – stability or adventure? – in breakout song “Meadowlark”.

Leading this Menier Chocolate Factory production are musical theatre stars Lucie Jones and Clive Rowe. Jones’s West End roles include Elphaba in Wicked, Fantine in Les Misérables and Jenna in Waitress, while Rowe won an Olivier for his Nicely Nicely Johnson in the National Theatre’s Guys and Dolls, and recently played Eddie Souther in Sister Act.

Can you tell us about the story? Clive Rowe: I play Aimable, a baker; he’s just married Geneviève, who is half his age. We arrive in this tiny village called Concorde, and it’s the story of the impact we have on that community. He’s chosen this remote place because he hopes, even on a subconscious level, that people won’t react too strongly to their age difference – but it’s not that simple.

Lucie Jones: It’s very clear straightaway in this production where we are in terms of the time period. The set and costuming is just gorgeous, and it’s a very detailed text, so we didn’t have to do a huge amount of work to get ourselves into this 1930s world.

Did you know much about the show? Jones: I really didn’t. I knew “Meadowlark” existed – my vocal coach had asked me to look at it, and I always thought “Oh that’s nearly eight minutes long, I’m not going to learn that today.” Now I have learnt it and it’ll be in my bones forever. Musicals don’t really get written this way anymore, so I’m thoroughly enjoying it.

Rowe: When I first listened to it I thought “How did I not know this musical?” It’s so incredible. It’s a genuine story about finding yourself and knowing yourself, and how you relate to other people.

How does it sit in the Menier? Jones: It’s absolutely perfect in this intimate space because it’s about real life, the small things that happen every day that create shifts and change. Plus we’re in a village where we’re all on top of each other, and everyone knows everything about everyone. I’ve always wanted to work at the Menier – everything done here is of such a high calibre.

Rowe: Definitely, it’s been on my bucket list. It’s not just all the productions that have transferred [into the West End or Broadway] – the space itself is special.

Are you actually making bread? Rowe: Well, I did go to a class and learnt how to make a baguette – unfortunately you won’t see those skills during the show! But it does motivate me for my character.

Jones: You will smell bread though, as well as lavender and a few other things. It’s immediately immersive.

I believe Stephen Schwartz was with you in rehearsals – what was that experience like? Jones: Yes, we’ve had Stephen with us for a big bulk of time, which has been such a pleasant surprise. He’s very collaborative – he wants it to be right for us. We’ve definitely worked to find the woman’s perspective in this period piece; she’s a powerful boss bitch.

Rowe: There’s nothing better than being in the room with the composer. He’s incredibly insightful and generous. I get bowled over just watching him work.

Do you relate to the themes of the show? Rowe: Without question. It makes me look at my relationships almost on a constant basis.

Jones: It’s a gift to be involved with a project that holds up a mirror and makes you actively question if you’re being the best version of yourself. We’ve had that response from audiences already: you look around the room and everyone’s feeling different things. That’s the greatest compliment that we as actors can receive.

What are your favourite songs? Rowe: Obviously “Meadowlark” is fantastic and Lucie sings it so incredibly well. “Merci, Madame” is one of my songs that I absolutely love. The bittersweet “Serenade”, “Gifts of Love” – it’s just beautiful song after beautiful song. Clever, witty writing, and a joy to sing.

Jones: The whole score is magic. I collect a new favourite every day. As Geneviève I have three really different songs that come in the perfect way to emphasise key moments in the story. I’m loving delving into them and learning more all the time.

The story is so much about community – have you created your own? Jones: We really have. This job has connected me back into why I loved doing theatre as a kid, in that everyone’s mucking in, we’re all in the same space together making it work. There’s no room for egos, literally! I’m stoked we get to do this for the whole summer together.

Rowe: It’s made me remember my early days at the Playhouse Theatre in Shaw [in Lancashire]. Of course we’ve got incredible actors in this production, but it’s got that same community spirit.

Jones: What’s lovely about the show is that it’s about normal people living normal lives, making mistakes, hoping for redemption and forgiveness – things we all deal with. You can come down, have a glass of wine, sit in this beautiful immersive set, smell the bread, and have a great night out as part of a really authentic and touching story.

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This article first appeared in the August issue of London Theatre Magazine.

Photo credit: Lucie Jones and Clive Rowe in The Baker's Wife. (Photos courtesy of production)