From Runcorn to the Revolution: Bethany Kate on Life in Hamilton

There’s something deeply special about coming home — and for Bethany Kate, a gifted musical theatre performer born in Liverpool and raised in Runcorn, stepping into Hamilton at the iconic Liverpool Empire is nothing short of magical.

Now part of the blockbuster production as an off-stage swing, Bethany brings versatility, tenacity, and passion to one of the most demanding roles in musical theatre. Steve Kinrade caught up with her to talk about what it means to perform on home turf, the challenges of learning five ensemble tracks, and how she thrives in the high-stakes world of last-minute stage calls…

First of all, congratulations in your involvement in Hamilton. Your role is of an off-stage swing, which is absolutely pivotal to each performance. But firstly, having been born in Liverpool and brought up in Runcorn, how does it feel to be performing at the world famous Liverpool Empire in such as smash hit musical?

Bethany Kate: I am so grateful to be performing Hamilton at the Liverpool Empire. To be performing in Hamilton in my home venue is a dream come true. I remember being in the audience watching all the musicals that came to Liverpool and hoping one day I could be on the other side. I believe Liverpool audiences are the best audiences, they have so much energy and excitement. I’ve also had my family in to see me and that really is such a full circle moment, I feel really proud of how far I have come to get to where I am today.

A lot of people will not know what an off-stage swing is in musical theatre. Can you elaborate for the Liverpool Noise readership?

BK: My role as off stage swing means that I am not on stage every night. I am in the building to cover roles when other members of the cast are off due to sickness, injury or holiday. This means that I learn multiple roles within the show in order to jump in whenever I am needed. For Hamilton, I’ve learned 5 different roles which are the 5 female ensemble tracks. It’s been a very busy rehearsal period in order to learn everything but it does mean that whenever I go on stage it’s very exciting because I’m always doing something different.

What was the audition process like? Hectic?

BK: The audition process was a bit different for me this time around. I’ve auditioned for Hamilton West End before, which involved multiple rounds of dance and singing. This past year I auditioned for Hamilton again and was taken straight through to the final round which I was extremely grateful for. The auditions were super long days and very tiring but I’m lucky to reap the reward of all the hard work I’ve put in.

What support did you receive from the Hamilton cast and creative team when you first joined the production?

BK: When I joined the company it was different for me to others as I was cast very late within the process, and was offered the role once rehearsals had already began. They supported me massively, sending me all the relevant information and even organising my travel and accommodation. Once I arrived to the rehearsal room everyone welcomed me with open arms, it was such a warm and encouraging environment. The company never pressured us to absorb all the information super quickly and were always open to conversations and answering any questions we may have.

What was the most challenging part of learning and maintaining multiple roles in Hamilton?

BK: The most challenging part has got to be how different all the tracks are. With each track I’ve learned, it has felt like learning a completely different show. With a lot of shows you learn the choreography and then it’s just a case of being in a different place on stage or starting on a different count. In Hamilton each track has their own harmony lines for the show and sometimes do completely different bits of choreography. In addition to this each track has multiple props to remember which are so vital to the show. I have yet to forget a prop!

Can you describe your first time going on mid-show or with very little notice? How did you handle the pressure?

BK: I actually thrive under pressure. It’s what I love most about being a swing. I have yet to go onstage mid-show but have had some shows with less notice. The adrenaline does make me nervous and shaky, but my brain is usually so switched on. I love the rush and can’t wait for a mid-show swing on.

How do you stay organised with all the choreography, blocking, and costume changes for your swing roles?

BK: I’ve tried a few different ways but when I learn the track I make full notes with lots of information written down. Once I’ve learnt the whole track, I make specific notes on the stuff I need to remember before I go on, like my entrances and exits, numbers I need to stand on, what prop I need to take, costume changes etc. I also have an app where I have all the tracks in their spaces on the stage so I can use that for reference before I go on.

What do you typically do during showtime if you’re not performing? Are you rehearsing, observing, or prepping in some way?

BK: I do multiple things depending on how I am feeling on the day. Some days I will keep up to date with my notes and blocking, other days I will get up on my feet in the dressing room and recap the choreography for specific tracks, or sometimes I will watch the show. If I’ve been on stage a lot and been super busy I will have a rest day and watch Netflix or crochet!

What advice would you give to someone who’s considering pursuing a swing position in musical theatre?

BK: In musical theatre in general I always say you have got to put the work in during training. It’s never about what college you train at, it’s about what you make of it. Keep grafting and working hard even if people don’t recognise it. Keep taking class even after you’ve finished training, you never stop learning! In regard to being a swing, I think it’s about having a good brain. Taking dance classes a lot is great for picking up skills, and remember to always be patient with yourself. As human beings we aren’t perfect as perfection isn’t attainable, it’s about being as prepared as you can be.

How has being a swing in Hamilton shaped you as a performer, both technically and emotionally?

BK: Hamilton is honestly my dream show. I’ve always wanted to do a show that has a lot of meaning. Everything within the show has a place and a reason. It’s pushed me to really communicate the story through movement. I’ve also felt really challenged with the style of movement as I would consider myself a jazz dancer and this lies very much between commercial, jazz and contemporary. I will definitely be walking away from this show as a more rounded performer.

Many thanks Bethany for taking time out to explain your role in the show! We wish you well in your future career!

Hamilton is running at the Liverpool Empire until Saturday 7th June 2025.

Bethany Kate was in conversation with Steve Kinrade.