Anita Harris on Cabaret as the hit show returns to Leeds

For anyone who doesn’t know the musical, what’s it about?

It’s a very strong story, set in a Germany where an undercurrent of bad feeling is beginning to grow. The state of Berlin at this period, between the wars, is pretending that everything is good, but underneath this dark river is flowing.

Sally Bowles comes from England to get any sort of work she can in show business. She finds it at the Kit Kat Klub, where you’ve got this glorious, vivacious energetic music and dancing, but there is an undercurrent of lasciviousness too.

You’re playing Fraulein Schneider, who runs a guesthouse that hosts all manner of characters. What can you tell us about her?

Ah, dear old Fraulein Schneider. She comes from a well-bred family, but her life has changed dramatically. She is a very wise woman but she’s also very blinkered. She doesn’t want to know what is really going on. She sees all and then puts the shutters down when she doesn’t want to show she’s aware of the truth. One of her paying guests is Herr Schultz, who she falls in love with. But there’s a huge spanner thrown into the works – the fact he’s Jewish and we’re going into Nazi Germany.

The important thing is her strength against all odds. She has to be very strong, but her steeliness is a front because she’s an old softy really, especially when it comes to Herr Schultz.

Cabaret is so cleverly written. The music and lyrics by Kander and Ebb are delicious in their craftsmanship, their sorrow and their lightness. The last scene is deeper than anything I’ve ever been involved in. It just says “This is what happened and please let it never happen again.” The trueness of the production is wonderful.

Yes, there is sadness, but there is also huge joy, a lot of laughter and lots of wonderful lyrics, music and talent. All of this is brought out by our director, Rufus Norris.

The piece was written more than 50 years ago. Is it still relevant today?

I think it is even more relevant than ever. Our world doesn’t know where it’s going right now. I just pray that it will lighten and come out of this dirge of fear, worry and aggression. There is so much aggression now; when you see it in a theatre production, so strongly portrayed, it can’t not get into people’s souls.

You’ve been working in the industry since the 1960s. How do you still find the energy to tour?

Honestly, it’s tough. It’s not just the shows, it’s the travel, arriving, finding hotels or digs. But something has always been with me – I walk through a stage door and the adrenalin pumps. I am so grateful for that. The desire to do a good job overrides all of the fatigue. I still love it. When you’ve got a company like this, that are so talented with a warmth of spirit, it’s a delight, it really is.

How important is it to take shows out on tour?

I think it’s more important than ever. People need music in their lives and they need a sense of drama. You walk into the foyer of a theatre and there’s a wonderful buzz. Then you go into the auditorium, the lights go down and the music starts…

It’s just invaluable, it’s so necessary. There’s something tangible about sitting next to a stranger and at the end of the production that stranger is a friend because you’ve shared something.

When you look back on your career, which ranges from dancing in Las Vegas to a pop career to appearing in the Carry On films and more, what are the highlights for you?

It’s the people that I have worked with. The first one that comes to mind is Harry Secombe. I did eight months at the London Palladium with him – we did two shows a night, three on a Saturday. At the end of that he said, “I’m doing some shows for the Combined Services Entertainments I’d love you to come with me.” So I ended up doing 12 CSC tours with him, going to Cyprus, Germany, Borneo... At one of them, we arrived and the boys from the army were building a stage for us to perform on that night. These experiences you can’t ever forget.

There was another moment with Harry at a show for the Royal Family. At the end of it Her Majesty the Queen Mother came on stage and spoke to everybody. These moments still ring in your ears and live in your heart. And they should do, because they’re precious.

Do you have any advice that has stuck with you through your career?

I have this word “Believe”, which I got from a wonderful director who directed me in Peter Pan. Her name was Pauline Grant. She said, “Anita, whatever you do in life just remember that if you believe, the audience and your company will believe. Keep that word in your soul.” I’ve carried that with me always.

Leeds Grand Theatre, March 3-7. Tickets 0844 8482700 or leedsgrandtheatre.com