Natalie May Paris has built a career shaped by scale. From childhood roles on some of London’s largest stages to originating a role that helped redefine modern musical theatre, she now returns to epic material as part of Total Eclipse, a one‑night celebration of Jim Steinman’s music at the London Coliseum. Speaking ahead of the concert, Natalie reflects on early ambition, the life‑changing impact of Six, and the excitement of encountering Steinman’s work from a fresh perspective.
“I was obsessed with Annie,” Natalie says, tracing her journey back to childhood. “I feel like the moment that I could even produce a sound, I wanted to sing.” That instinct quickly became something more tangible. “I went to a local dance school, and then the opportunity came up to audition for Les Misérables at the Palace Theatre when I was about seven or eight years old, and I got it. From that moment on, it’s just all I ever wanted to do.”
Growing up immersed in music helped shape her versatility as a performer. “I love musical theatre, but I love music as a whole,” she explains. “I was surrounded by so much variety of different genres and styles. I’m very grateful that I get to continue to do what I love, especially when it’s something I knew I wanted from such a young age.”
Although Natalie’s professional career began early, it was Six The Musical that marked a major turning point in adulthood. “Six was quite life changing,” she reflects. “It came along at a moment where I’d been gigging quite a lot, and suddenly this show arrived that was marrying all the worlds I’d ever been part of and loved.” One song in particular resonated immediately. “From the moment I first heard ‘Heart of Stone’, I genuinely felt like it was made for me. I’m never tired of singing that song.”
The explosion of Six onto the global stage was something none of the company fully anticipated. “We knew we were part of something really special and groundbreaking,” she says, “but you still don’t expect what happened to happen.” Watching the show take root internationally prompted a rare pause for reflection. “I went to see the Japanese cast perform, and I had a real moment of feeling super proud. They were singing it in their language, here in the UK, and it made me think, ‘Oh gosh, yeah, we did that.’”
That experience highlighted how important it can be to stop and acknowledge achievement. “When you’re living through it, you don’t always take it in,” Natalie says. “So to sit there, see it exist without you, and see how much joy they were having, was incredibly special.”
Now, her focus turns to Total Eclipse, an orchestral and rock concert celebrating the music of Jim Steinman. “It’s a celebration of his music with an incredible line‑up,” Natalie says. “I genuinely cannot wait to hear every single person on that stage sing, and to perform with such an incredible orchestra. These are iconic songs, and it’s so exciting to honour them in this way.”
The scale of Steinman’s work finds a natural home at the London Coliseum, a venue Natalie will perform in for the first time. “It’s an unbelievable theatre,” she says. “I’ve never performed there before, but I’ve been many times as an audience member, and you really feel the gravity of the space. To stand on that stage, supported by amazing musicians, is going to be really special.”
For Natalie, the venue is integral to the experience Steinman’s music offers. “For the audience to sit in such a beautiful theatre and have that wall of music hit them in the chest is exactly what those songs deserve,” she explains. “That’s what I would want to feel as an audience member, so hopefully that’s what we deliver on the night.”
While Natalie was familiar with many of Steinman’s most famous songs, the concert has also opened the door to new discoveries. “Of course I know the Meat Loaf songs and Bonnie Tyler,” she says, “but what’s really cool is that the songs I’m singing weren’t ones I knew very well. It’s allowed me to understand even more depth in his work, and I don’t think I’ve ever sung one of his songs before, so this feels really exciting.”
The one‑night event brings together a wide‑ranging line‑up of performers, some familiar, others new collaborators. “I did Six with Danielle Steers, and it will be so great to be back on stage with her,” Natalie says. “I know a lot of them socially or from gigs, but we’ve not worked together. I cannot wait to hear everyone give everything they have. I’m going to be a fan as well.”
With only a single performance, the sense of occasion is heightened. “These one‑off concerts feel really special,” she reflects. “If you were there, you were there. If you weren’t, you missed out. It feels more personal, and it gives audiences a chance to experience performers as themselves, outside of playing a character, which I love.”
That includes welcoming the devoted fanbase Steinman’s music attracts. “Fans are so important,” Natalie says. “They’re the people that keep everything alive. If it wasn’t for them, this music wouldn’t continue to exist, so I bring it on. I think it’s going to be brilliant.”
For anyone still deciding whether to attend, her message is simple. “If you want a really special night of fantastic music and performances in an iconic theatre,” she says, “then it’s a no brainer. You must come and buy a ticket.”
Listings and ticket information can be found here
