Samuel Parkinson-Philips - Dypsy! The Purrr-ody Musical Interview

Gypsy-Rose Blanchard-inspired parody musical Dypsy! reveals its feline perspective.

Credit NYRA Studios.

One actor. 10+ unforgettable characters. Two feline narrators. One extraordinary true-crime parody combining live performance and multimedia storytelling. The one-man musical will make its first public work-in-progress presentation in London this November.

Parkinson Philips Productions has unveiled the central conceit behind its debut production, Dypsy! The Purrr-ody Musical - a darkly comedic, true-crime-inspired one-man parody musical told from an unexpectedly feline perspective.

Rather than simply retelling one of the world’s most talked-about true-crime stories, Dypsy! places two unsuspecting whiskered witnesses centre stage. Inspired by acclaimed theatrical parodies such as Titanique and Oh, Mary!, the production reimagines the extraordinary true-crime story through the eyes of Gypsy-Rose Blanchard’s feline companions, Moo Moo & Boo Boo.

Audiences meet Dypsy-Nose Cranchard, her controlling, hyper-protective mother, Greedy Cranchard and her secret online love interest John Go-to-Nick as manipulation, suspected fabricated illness and theatrical absurdity collide in a fast-paced musical parody packed with camp chaos and featuring songs inspired by beloved musical theatre classics.

Ahead of the work-in-progress presentation, we chatted to with writer, creator and performer Samuel Parkinson-Philips.

True-crime parodies are having a huge cultural moment right now. What was the exact lightbulb moment that made you say, "This story needs to be told through the eyes of two cats"?

I was first introduced to Gypsy-Rose Blanchard’s story about four years ago. A friend saw someone who looked like her and said, “She looks like Gypsy-Rose Blanchard!” I replied, “Who?” That simple question opened the door to this unbelievable story. That evening, I watched the original documentary Mommy Dead and Dearest and was immediately struck by the complexity of the case. I soon discovered just how fascinated people around the world were by it. My mind works in many wonderful (and sometimes concerning!) ways, and I began to see an opportunity to create something unique: a show that could be entertaining while also exploring topics from the case that still aren’t widely discussed.

When you take inspiration from such sensitive material, you have to be very careful about your approach. Mel Brooks’s ingenious handling of difficult subjects in The Producers gave me the confidence to explore how I might tell this story. Then I stumbled across a news article titled “What happened to the Blanchard pets?”. I realised the cats could offer an entertaining, surprising and unusual perspective on a story that so many people think they already know.

Seeing the success of parody shows such as Oh, Mary! and Titanique also helped me trust that audiences enjoy familiar stories told in unexpected ways. As soon as I discovered that Gypsy-Rose Blanchard had two cats, I had a feline (sorry!) that this was something worth exploring. And Dypsy! The Purrr-ody Musical was born.

Shows like Titanique and Oh, Mary! have set a high bar for theatrical camp and absurdity. How did those productions influence your approach to balancing dark true-crime themes with high-camp humour?
Both shows have been hugely influential in shaping Dypsy! Cole Escola, the writer and performer of Oh, Mary!, and Marla Mindelle, Constantine Rousouli and Tye Blue, the creators and co-writers of Titanique, showed me new ways to use existing stories to entertain audiences.

Both productions find comedy in tragic, familiar stories using larger-than-life characters, yet neither leaves you sitting in the audience thinking, “This is in really bad taste.” Their writing, storytelling devices, theatrical camp and absurdity create an unusual combination that has proved incredibly successful. They gave me the confidence to stick to my original vision for Dypsy!.

Gypsy-Rose Blanchard’s story is intensely documented in the media. How did you navigate parodying such a famous, complex true-crime case while keeping the tone light, theatrical, and fun?
Gypsy-Rose Blanchard has become a prominent figure in popular culture, and her story is one people love to discuss. Everyone has their own view of it, and many feel they know what happened. Ultimately, though, only the people involved know the full story, and that will remain the case.

Our approach has been guided by something Mel Brooks said when creating The Producers: “You have to go so far that people literally cannot take it seriously.” That idea has stayed with me as we work to keep Dypsy! theatrical and entertaining while remaining respectful of the material that inspired it.

You’re playing over 10 distinct characters in a single show. How do you prepare physically and vocally to jump rapidly between figures like Dypsy-Nose, Greedy, and John Go-to-Nick?
The story itself has given me a delightful range of characters to portray. Part of what makes it so theatrically absurd is the sheer variety of people and personas involved. I can’t think of another show that lets one performer play two cats, a doctor, a teacher, a mother and daughter, and an online boyfriend with multiple personas of his own—including a 1,000-year-old vampire! His story also opens the door to an already comedic collection of other online characters.

Dypsy! combines multimedia with live performance, which allows me to portray several characters at once, even though it’s a one-man show. As an actor, that also gives me room to pace myself and give each character the attention they deserve, rather than letting the sheer number of roles compromise any individual performance. In terms of actual preparation, a full physical and vocal warm-up will be integral to allowing myself to prepare to deliver this story on my own.

Tell us about Moo Moo and Boo Boo. What are their individual personalities, and how do their "feline perspectives" comment on the absurd drama unfolding around them?

Moo Moo and Boo Boo are quite the team. As with any successful duo, their dynamic needs to be entertaining but unpredictable, and that’s the approach we’re taking to bring these whiskered witnesses to life.

Moo Moo is in charge, while Boo Boo is a little slower to grasp what’s going on. There are moments, though, when Boo Boo’s, let’s say, “individual” approach works in their favour. Their different perspectives create an energy that keeps the show moving and helps the audience connect with the story through a distinctly feline point of view.

We’ve taken inspiration from comedy greats including Daisy-May and Charlie Cooper (This Country), Catherine Tate (The Catherine Tate Show), and Matt Lucas and David Walliams (Little Britain and Come Fly with Me). The show’s structure gives us the flexibility to move between short sketches and scenes. As a writer, that approach has helped me keep the story flowing at a pace that feels right.

The feline costumes were designed and created by the incredible Abraham Ramirez-Gonzalez for OUTNESS. The cats’ appearance is such an important part of the show’s identity, and Abraham’s contribution to bringing them to life has been invaluable. I’m very grateful to have them on the Dypsy! creative team.

Samuel Parkinson-Philips. Photo by Abraham Ramirez-Gonzalez

Is there a specific character in the show that you find most challenging—or most cathartic—to step into?

At the moment, the jury is still out! Dypsy! is in early development, so the characters will continue to evolve and find their place in the show.

I can say that some of them will take audiences by surprise. They’ll meet characters who may or may not appear in the real story that inspired Dypsy! We’ve added a few because there was an op-purrr-tunity (oops, I did it again!) to expand on certain scenarios. That’s all I’ll say for now.

The score features songs inspired by musical theatre classics. Can you give us a teaser of one or two classic shows or iconic musical styles you're paying homage to?

Yes, absolutely! Dypsy! began with songs rewritten to existing musical theatre music, but complex and understandably strict copyright rules made that approach impossible to pursue. One of our biggest creative challenges was finding a way to keep the show on the path I had envisioned while writing a completely original score. Parody runs through the characters and music alike, so retaining those little references and Easter eggs mattered enormously to me. I wanted the songs to feel familiar while being entirely original to Dypsy!

It sounds dramatic, but I conducted a worldwide search for a composer who could reimagine the songs, preserve the spirit of Dypsy! and bring even more energy to the show. After receiving over 100 applications from around the world, I found Rachel Blaquière. She has been a wonderful collaborator, and her work on the score has exceeded my expectations. She has captured the energy of the moments that inspired these songs while making the music her own. I truly believe she was the perfect person for the job.

Without giving too much away, the opening number is inspired by Hamilton and the extraordinary work of Lin-Manuel Miranda. Across the show, you’ll also hear the influence of everything from Wicked and Into the Woods to Beetlejuice, Evita and Be More Chill. A few song titles include “Applying Gravity,” “Now I Know These Things,” “Don’t Cry for Me, I’m Just Greedy!” and “Dypsy in the Bathroom.”  Yes, they’re every bit as crazy as they sound!

We also have additional orchestrations and arrangements by Mark Pim. Working under Rachel’s direction, he has crafted tracks that capture the energy and approach of the score so central to my vision for Dypsy! I’m excited for audiences to hear their work, and delighted to have them both on the team.

This is the debut production for Parkinson Philips Productions. How has the journey been taking Dypsy! from an initial idea on paper to its first public staging?

Being completely honest, I was extremely naïve when I started this process—and perhaps I still am in some ways! Writing and producing Dypsy! has taught me an enormous amount, though, and the work has felt surprisingly natural, even during the more challenging moments.

As a child, I used to put on shows in my bedroom. I even charged my parents extra to sit on the bottom bunk—the top bunk was the balcony, with the cheap seats! I was in complete control of every aspect and fully committed to each production. Theatre and creating entertainment have been a huge part of my life for as long as I can remember, but I never expected to be bringing my own project to the stage, knowing there are people out there waiting to see it come to life and join us on this very silly journey.

Getting to this first work-in-progress presentation has taken longer than I anticipated, but it finally feels like the right time to put the idea out into the world and see what happens. Performing my own work for an audience who have bought tickets to see something that came from my imagination is exciting, but also exposing and intimidating. The show is unapologetically me. My friends and family know how unusual my ideas can be, and I’m learning to trust that there are other people out there who might enjoy them too.

What are you hoping to learn or refine most from the audience feedback during this work-in-progress presentation at the Etcetera Theatre?

The first presentation is a chance to share the show and its material as they stand now, and to see how they land with an audience.

Dypsy! will evolve, grow and change, and I want audiences to play a part in that. I’ve created a very silly show that I believe people will enjoy, but I also want to give it the best possible chance of reaching its full potential. I’m keen to stay open to feedback and treat the development process a little like stand-up comedy: put the material in front of people, learn from their reactions and make changes that strengthen the show.

After each presentation—with more to be announced—the audience will be invited to share their thoughts and feelings about what they’ve seen. Their feedback will help us keep responding, refining and improving. I believe there’s a great deal of potential in Dypsy!, and reaching it may take plenty of experimentation, including a few things that don’t work along the way.

Solo shows demand immense stamina. What does your routine look like when getting ready for a fast-paced one-man musical?

Fitness and wellbeing are important to me, so I feel I’m starting from a good place. One non-negotiable part of my routine is a 5 km walk every morning, whether that’s outside or on a treadmill at the gym. It helps me prepare for the day and puts me in the right mindset for whatever challenges and opportunities it brings.

On the day of the presentation, I expect I’ll need to conserve some energy for the performance and focus on staying positive. This is an opportunity I want to approach calmly, professionally and with humour. One ritual I use in any professional setting is to say, “I’m grateful,” quietly to myself. In high-pressure moments throughout my career, that small shift in mindset has been a huge help: I find it much harder to feel afraid when I’m focusing on gratitude.

Camden has a rich history of supporting fringe and experimental theater. Why felt like the right home for Dypsy!’s first outing?

Camden’s history of supporting fringe and experimental theatre made it feel like a natural home for Dypsy!’s first presentation. The Etcetera Theatre, in particular, has a strong reputation for giving artists a space to share their work.

My experience of working with the theatre so far has only reinforced that decision. The team’s support and knowledge have been incredibly encouraging, both for Dypsy! and for me as an emerging producer.

If Moo Moo and Boo Boo were sitting in the audience watching the show, what do you think their honest review would be?
Ha! Great question. I think their first reaction would be, “This is cat-shit crazy!” But as their story unfolds and the energy of the show takes hold, I think they’d feel rather proud to be speaking up and telling the world what happened in that pink house. I don’t think anyone is quite prepared for what these two felines have to say!

Beyond November’s work-in-progress showcase, what is the ultimate vision for Dypsy! The Purrr-ody Musical?

My ultimate vision for Dypsy! is to find its audience and entertain them with this unusual take on a story that has already captured so many people’s attention. I hope those who know the story will enjoy recognising its references, while the show also introduces new audiences to both the case and our version of it. I’m determined to take Dypsy! to the Edinburgh Festival Fringe, where I think it has the best chance of finding people who are open to unique, exciting and gloriously ridiculous shows.

I’m particularly inspired by Linus Karp and Joseph Martin of Awkward Productions. They have such a distinctive voice and approach to making smaller-scale comedy shows, including Diana: The Untold & Untrue Story and Linus Karp Was Hit by an Umbrella. They’ve built unwavering support from audiences who are genuinely invested in their work. If Dypsy! can find that kind of encouragement and connection with an audience, it would mean the world to me. And we’re only just getting started!

Where can people follow updates for the show?

Dypsy! The Purrr-ody Musical will receive its first public work-in-progress presentation at London’s Etcetera Theatre in Camden, UK on Sunday 29 November 2026 at 2pm, giving audiences the first opportunity to enter the increasingly unhinged feline universe of Dypsy!

With over 60% of available tickets sold within four days of going on sale, remaining tickets are now on sale via the Etcetera Theatre:

TICKET LINK

True-crime has gone… feline!

You can follow Dypsy! The Purrr-ody Musical on Instagram & TikTok @DypsyMusical.
You can follow Parkinson Philips Productions on Instagram @ParkinsonPhilipsProductions or via www.parkinsonphilipsproductions.com

Creative Team on Instagram:
Written, created & performed by Samuel Parkinson-Philips (@SamuelParkinsonPhilips)
Music by Rachel Blaquière (@RachelBlaquiereMD)
Additional orchestrations and arrangements by Mark Pim (@MarkPimMusic)
Feline costume design and construction by OUTNESS (@_outness_)
Poster photography by NYRA Studios (@NyraStudios.uk)