Some roles demand transformation, and when I spoke to actor Shannen Alyce Quan, she was right in the middle of one. As the first of four performers to embody the title character in Orlando at Belvoir St Theatre this September, she steps into a life that shifts across centuries, genders, and theatrical styles before passing it on to the next actor.

Known for moving effortlessly between worlds, from Tudor royalty to literary heroines, Shannen now faces the challenge of navigating courtly intrigue, pop culture flourishes, and a simulated skating rink (yes, you read that right). This production is equal parts literary feast, theatrical shape-shifting, and pure, unadulterated magic.

Our conversation wandered through the play’s inventive structure, the creative alchemy behind the rehearsal room, and the joy of telling a story where identity is fluid, time is elastic, and anything can happen.

So, without further ado, here’s Faith’s Top 5 with Shannen Alyce Quan. Let’s get transcendent!

Q1. From playing Anne Boleyn in Six to Jo March in Little Women and Esme in The Dictionary of Lost Words, you’ve worked on wildly different projects, from pop-culture musicals to literary adaptations. What’s the biggest creative shift you’ve made stepping into Orlando?

Every show I take on, I try to do something I haven’t done before or something that will stretch and challenge me in ways I haven’t explored yet. Orlando is another one of those projects. We’re also playing across multiple genres and styles. Carissa, our director, is guiding each physical transformation Orlando goes through, with a new actor stepping into the role in an entirely new setting.

Q2. Woolf was writing about gender fluidity, imperialism, and identity a hundred years ago. If she could sit in the audience for this production, what do you think would surprise or delight her?

As an extension of Virginia Woolf’s musings on gender and identity, we’ve expanded the focus beyond celebrating one individual. We highlight how the same magic within Orlando exists in many people, particularly within the queer and trans community. I think Woolf would feel a bit of relief at how far we’ve come. Above all else, this production is a celebration.

History can feel like nothing has changed and also like everything has changed. A small example – my partner and I are watching early seasons of RuPaul’s Drag Race. He’s never seen it before, so we’re going through the earlier seasons. At the moment we’re on season 3, which is just over ten years ago. But the change in language and the acceptance of people of different identities, even in that very welcoming space, has shifted a lot. It shows how much can happen in a short amount of time, while also highlighting that sometimes we cycle back to where we were. It’s hard to tell if we’re progressing or not.

Q3. Do you think sharing the role adds new layers to the character for the audience?

I have perhaps the most straightforward job of the four Orlandos because I’m Orlando 1, playing the young nobleman, steward to Queen Elizabeth. He is at the beginning of his life at age 16 – figuring out who he is in that period without carrying all the lessons Orlando learns later, which the next actors portray.

As we form the trajectory of the show, certain innate qualities about Orlando become clearer and more solidified through his curiosity, existing in different time periods, and seeing himself reflected back in some ways and not in others. Sharing the role adds layers, supporting the idea that we are watching the same person go through transitions, while each actor brings their own qualities and approach. Even though we’re playing the same role, the way we embody Orlando speaks to the expansiveness of what a person can be. At Orlando’s core is curiosity – an openness to take in information without immediately judging it.

Q4. Working with Carissa Licciardello and Elsie Yager on this fresh adaptation must bring a unique energy. How have their vision and creative collaboration influenced your approach to Orlando and shaped the way the story is told?

Elsie Yager and Carissa Licciardello adapted the piece, with Carissa also directing. They are both incredible creatives and, I would say, self-appointed diehard Virginia Woolf fans. There’s a deep desire to do justice to her work.

We did a lot of round-table talking, sinking our teeth into the text. There’s so much in Woolf’s writing and so much in this adaptation. Everybody brings slightly different life experiences and approaches, but we’re all feeding into one “beast,” which is a story of exploration and finding joy. It’s also lovely to be in a room full of people who love to talk intellectually about ideas and then get to play them out on the rehearsal floor.

Q5. This adaptation has been called bold and playful. Can you share a rehearsal moment or directorial note from Carissa Licciardello that really unlocked the humour or surprise in a scene for you?

Sometimes, in reflecting the morals of the time periods, we tip into satire or farce. Working with choreographer Shannon Burns, we tapped into the Restoration period in Act 2: extravagant costumes, larger-than-life gestures, slightly off-kilter movement, and specific, playful choices. There are also pop culture references sprinkled in.

Roller skating has been one of the boldest things I’ve ever done. The actors emulate ice skating while delivering Woolf’s poetic text wearing these huge masks. For me, just moving from point A to point B on skates has been a learning curve. Tucker, our skating coach, has introduced me to muscles I didn’t even know existed. My dance background didn’t prepare me for this!

BONUS QUESTION: What’s the one question you were secretly hoping I’d ask, and what’s your answer?

• How many times I’ve fallen over skating during this show?

It’s at least once a day, and sadly, it’s not getting any fewer.

Orlando previews at Belvoir St Theatre on 6-9 Sept and then runs until 28 September.

For further information see: https://belvoir.com.au/productions/orlando/

For more behind-the-scenes chats, theatre insights, and fearless interviews, follow Faith in Theatres on Instagram and Facebook. Your front-row seat awaits. Because theatre needs Faith.