WHEN James Willstrop emailed Robert Readman to request audition details for The Sound Of Music, Pick Me Up Theatre's director did not recognise his name.

Nor indeed was he any wiser when James walked into the York auditions at Theatre@41, Monkgate, but he was struck by his presence, his height, 6ft 4ins, his gait, his demeanour. "I thought, 'Ah, he might be just right for Captain von Trapp'."

It was only when Robert returned home to Bubwith and mentioned James's name to his mother that all became clear. She knew plenty. James Willstrop. That James Willstrop, Squash champion. Highest ranking: number one in January 2012. Lives in Harrogate. She had read his articles in the Yorkshire Post.

From then on, Robert watched his sporting deeds closely, in particular James's gold medal at 38 in the Birmingham 2022 Commonwealth Games squash doubles in August.

James, as it happens, had had another string to his racket since October 2015, when he returned to the stage with Adel Players at Adel Memorial Hall, North Leeds, aged 32, in R.C. Sherriff's Journey's End, set in the First World War trenches in Northern France.

A year earlier, James had been recuperating from a hip injury, five months off, and in need of a stimulus during rehab. He contacted Adel Players, became involved and found himself taking the part of "a captain suffering with alcoholism whose experiences at the front have destroyed him", as he told the Guardian in a self-written feature.

"I seem to have caught a bug. I've been lucky to have been given the chance. My dad, in jocular fashion, now refers to squash as my second job," he wrote.

Roll on to those summer auditions in York, and now he is working with Robert Readman for the first time, making his York stage debut, playing Captain von Trapp for the first time, in Pick Me Up's production of Rodgers and Hammerstein's final collaboration.

"Like many, I did watch the movie quite a bit, and I always enjoyed how Captain von Trapp changed so much through Maria, the children and the music," says James, outlining what attracted him to the role.

"His sadness and anger become positive and he is grateful and lighter again. That was interesting to watch. Then there are the Rodgers and Hammerstein tunes! The music is just pure melody.

"My dad Malcolm died last year and it was a film we watched and saw on the West End together. I still have a text he sent me where he said he thought the captain would be a great part for me to try when I started acting again a few years ago. I sort of laughed at the time but now here I am and I'm sad he can't see us do it."

James took his first steps on stage playing the lead in Joseph And The Amazing Technicolor Dreamcoat at school. "I just remember it was a magical experience. I knew the stage was something I loved," he says.

"I didn't act much when the professional squash career took over and then, when I got injured, I started watching more local theatre. I got into it and did lots of plays.

"But music and story fused together are the thing, and my favourite shows have always been musical, so I started singing much more and as a form of expression it's the best."

How on earth does he find time to do theatre shows, given his squash commitments? "I have to. I'm slightly addicted to doing shows, so I just have to. There's no choice," he says, of his need to squash everything in, having first picked up a racket in his Norfolk birthplace in 1984/85.

"I'm much older now [he turned 39 on August 15], and so I'm not in my prime as a player and the tournaments are winding down. With a bit of juggling and a very understanding and helpful director (thanks Robert!), I can make it."

What makes James more nervous? Playing the lead in a big musical or stepping on court in a final? "They both have similar sensations and I think that gives them a great connection and similarity. Some of us just want and love that danger, those nerves and the adrenalin," he answers.

"In a way, the nerves can be more extreme in theatre because making mistakes is probably more obvious on stage. On court, if you hit the ball out, you can put it right next rally.

"But I guess, on the whole, maybe the nerves are slightly more shattering in squash. There's a loneliness in competition that doesn't exist in theatre. You're sharing it with a group and that's a comfort."

James does see how comparisons can be made between the disciplines of singing and squash (apart from them both having strings attached, sometimes!).

"People don't get it but I think there are similarities. Learning to breathe for one! The singing techniques have helped my squash, I think," he says.

"You also need to think about light and shade in the song, and what's important to the story, just as you do in a squash rally. It mustn't all be one paced. You have to construct the rally."

The repetition and practice and the learning of lines for a play is similar to squash practice, suggests James. "The discipline is crucial," he says.

"Then the match play element is the same to doing run-throughs of a show. In squash, you need to convert your practice into performance, so you play matches leading up to big events. It's the same in theatre, where you need to run the show fully to find out where you are."

Pick Me Up Theatre in The Sound Of Music, Theatre@41, Monkgate, York, December 16 to 30. Box office: https://tickets.41monkgate.co.uk/