We are thrilled to welcome Andy Leonard in the title role of the Harlequin in our one-act opera Arlecchino - part of our 2025 Bernstein & Busoni double bill. Andy was cast in the role because of his sometimes larger-than-life stage and musical style. Also, he has the right "glint in his eye". Read an interview about Andy's approach to the role below.
Andy Leonard is an Australian actor, singer, and writer whose career spans stage, screen, and musical theatre.
As a performer, Andy has played the title role in Keating!, Guido in Nine, and appeared in the West End production of The Vegemite Tales. His screen work includes features and shorts such as Something of Vengeance, Luca, Profuct Pain and Souvenir.
Alongside his acting and singing career, Andy is an award-winning writer. His feature Cheese Death Lullaby won Best Script at the Changing Face International Film Festival and was an official selection at the Berlin International Screenwriting Competition. He is also co-creator of the TV series Dadhood, currently in development with assistance from Screen Australia, and co-writer of the sci-fi musical Rabbits on a Red Planet.
Other writing credits include Tidy Town of the Year (Old Fitz), Ratbags (London), Never Mind the Bumwhore (Sydney Fringe, Regional Tour), Unhinged, My Year Without Sex (West End, English Theatre of Vienna, Melbourne Comedy Festival) and Remember My Name (Amazon US and UK, Hulu).
Beyond writing and performance, Andy has become a recognised live storytelling host. He was the Sydney host for The Moth (2015–2020) and currently fronts This Is Totally Fucked, a raw and comedic storytelling series celebrating honest personal narratives.
Andy’s storytelling voice blends sharp humour, emotional depth, and a fearless eye for the absurd, often exploring love, grief, and human connection in unexpected ways.
Andy talks about the lead role of Harlequin
What’s your take on the character of Arlecchino?
I like the Harlequin because he’s naughty, he plays people off against each other, he’s a storyteller and a brat. I identify with all those traits.
The role suits me because I’ve always been someone to push the boundaries in acting, and probably in life! Also, I’ve got two small children who are naughty, and I draw inspiration from them every day.
I’ve often played the fool or comic relief character. The last time was Grumio in Taming of the Shrew, another character who likes poking fun and having a laugh.
Busoni controversially gave the lead the only speaking role in the opera. What do you see as the challenges of this?
I love singing so much, I think the challenge will be keeping my mouth shut!
The speaking role is a fabulous opportunity for fun! It allows me to connect directly with the audience – I can improvise, think on my feet, and break the fourth wall. I couldn't do this if I had to stick to a libretto, so in this way I can be an additional conduit between the singers and the audience.
Also relevant is that I host a live monthly show. People tell their stories about adversity – hilarious, tragic, or both. My job is to welcome different opinions and life experiences, bring the show together, push boundaries, and sometimes ‘poke the bear’ to get a reaction. I’ll definitely bring this experience to the role!
Arlecchino premiered in 1917 and has been called an "anti-opera," and an "anti-war satire”. How do you get your head around this as a performer in 2025?
Connecting with an audience means adapting stories to modern understanding.
We are in the same sort of political cycle as Busoni - huge global currents, conflicts, and a similar mood on the street. However, in Arlecchino we shouldn't bring the past into the present just for the sake of it, or to be clever.
I like to genuinely connect to the human experience of the past, reinterpret it, and represent it in an intelligible way in the present.
I’m looking forward to the rehearsal room, where we can find these gems and nuggets in the work and then bring them to the audience. That’s the challenge.