Starring in a splashy new production of the classic Cole Porter musical High Society, Helen George is in her element. Her father was a big jazz fan. “So I grew up listening to all the greats like Ella Fitzgerald and Frank Sinatra singing those wonderful Cole Porter melodies,” Birmingham-born Helen recalls fondly. “Doing this show is really special for me because this is the music that I grew up with and sang along to.”

From the producers of equally dazzling revivals of Porter’s Anything Goes and Kiss Me, Kate, High Society is directed by Rachel Kavanaugh, whose credits include Shadowlands and Seven Brides for Seven Brothers, and choreographed by Anthony Van Laast of Mamma Mia! and Bombay Dreams fame, with musical supervisor Stephen Ridley leading the orchestra.

As it embarks on a 20-week UK and Ireland tour after a stint at the bigger Barbican Theatre with a 28-strong cast that also features Freddie Fox, Julian Ovenden and Nigel Lindsay, Helen promises: “It’s a wonderful, fabulous, sophisticated escape of an evening, with a huge orchestra and a big brass section. There’s just so much joy in this show, the costumes are incredible, the songs are amazing, and I’m over the moon with the cast and crew that I get to work with.”

Based on the classic 1956 film (which in turn was based on the 1939 stage comedy The Philadelphia Story and the following year’s big screen version), High Society revolves around a Long Island wedding circa 1951, with old and new flames vying for attention as sharp-eyed reporter Mike Connor (played by Fox) hunts around for some tabloid-worthy scandal.

As the planned nuptials descend into comedy chaos, at the centre of it all is Helen’s Long Island socialite and divorcée Tracy Lord. “She’s a very interesting character,” the actress muses. “One of my first questions was ‘Why would we care about her?’ because on paper she’s got it all. She lives in this fantastic house and there’s so much wealth behind her, but ultimately it’s a story about human relations and Tracy is trying to control her life in the best way that she can.”

Helen smiles as she adds: “It’s a bit like The White Lotus because everybody’s in this world of wealth and fabulousness, and how can we relate to that? But actually we can’t take our eyes off them and there are really relatable themes about love and pain amidst all the fun and fantastic songs.”

Those songs run the gamut from Who Wants to Be a Millionaire? via Well, Did You Evah! and Just One of Those Things to Let’s Misbehave and the swooningly romantic True Love. For this new production the score has been expanded with a selection of additional Cole Porter classics, including “I’ve Got You Under My Skin”, “Let’s Do It, Let’s Fall in Love”, “You Do Something to Me”, “Be a Clown”, “You’d Be So Nice to Come Home To”, “All Of You” and “Now You Has Jazz”, bringing even more wit, romance and sparkle to the production.

And Helen sees the music and mirth as a tonic for troubled times, saying: “I come out of the theatre, then I listen to the news and think ‘Oh God, I’m so glad that I’m doing High Society, not something that’s sad or political in any way’. This is exactly the sort of show that we need right now, and I think that theatre really comes into its prime when the world feels uncertain – especially with a musical that’s as much fun and as lively and joyful as this one.”

Best known for Call the Midwife on screen and the recent acclaimed revival of Rogers and Hammerstein’s The King and I on stage, George is no stranger to period costumes. Playing English governess Anna Leonowens in 1860s Siam in the latter, she was confined by corsets. Are the early-1950s outfits in High Society less restrictive? Helen laughs. “Well, you’d think so, but I’m still never far away from a corset! It’s a different silhouette, though, with that kind of Dior A-line skirt with a tight-fitting top silhouette, rather than long, hooped and heavy skirts. The refined elegance of the costumes is just beautiful.”

Then there’s the character of Tracy, of whom she says: “I think what’s interesting about her is that she’s a divorced woman in 1951, which is rare and actually quite brave. It’s interesting to explore the fact that she’s free and independent and only needs a man for love, not money.”

Back when she was singing along to Fitzgerald and Sinatra, did Helen ever imagine that she’d have the career that she’s had? “You never know how it’s going to turn out. I’ve been very fortunate with the chances that I’ve been given and I feel very lucky, but I’ve worked hard for it.”

That hard work began when she studied ballet as a child. “I wasn’t particularly academic and I knew I’d found my passion, which my parents were very supportive about,” she recalls. “That was dance to begin with, which translated into singing and then translated into acting. I just knew that I didn’t want to work in an office because I’m much more of a practical and physical person.”
Her family were big Aston Villa Fans and, as a sporty youngster, for a while she dreamt of becoming the team’s first female manager. “But obviously I was never going to do that,” she grins. Instead she studied musical theatre at the Royal Academy of Music in London, toured as a backing singer for Elton John, then landed the role of Nurse Trixie on Call the Midwife.

Fourteen years on, the character remains dear to her heart. “Normally at this time of year we’re filming a new series but we’re having a break, so it’s weird not seeing my friends in the cast. Call the Midwife is always going to be a part of me and I hope in my future as well. I’m hoping that my time as Trixie hasn’t come to an end just yet.”

After strutting her stuff on Strictly Come Dancing, George returned to her musical theatre roots in The King and I. It felt like a homecoming. “It was always something that I had in my back pocket to go back to, but it wasn’t something that I wanted to focus on when I was younger. It took a lot of nerve coming back to it because I’d only really done plays over the previous 15 years, but I’m loving it.”

As High Society heads out on tour, is there anything she couldn’t be on the road without? “I’m taking my kids because it’s during the summer holidays,” beams the mother of young daughters Wren and Lark. “It’s also good that they understand why Mummy has to go to work and what I’m doing when I’m there.”

Helen is a big advocate for taking shows around the country, saying: “Without getting on my soapbox, I think touring productions are so important. I grew up in Birmingham and I saw so many wonderful touring shows, and that’s what made me want to do what I do now.”

That includes following in the footsteps of the legendary Grace Kelly, who played Tracy in the film version. “But I’m not thinking about it because it’s just too intimidating,” Helen admits. “It was the same with The King and I, which had this legacy of incredible actresses before me playing her. My concern is finding my own take on the character, and I love that I get to play these very rounded and fulfilling roles – especially in a show that’s as gorgeous and joyous as this one.”

High Society is at Lowry, Salford from 22 September to 3 October 2026 before continuing on tour.

The post Helen George on why High Society is the tonic we need right now appeared first on Quays Life.

Le Navet Bete is back with another larger-than-life comedy, this time taking on the wildly dysfunctional world of Greek mythology.

When the stability of Olympus is threatened by the marriage of Zeus’ daughter Hebe to a mere mortal, the King of the gods hatches a plan to derail the wedding. The result is a fast-paced physical comedy in which three actors play 40 characters in a mythical farce through Ancient Greece, the Underworld and back.

Ahead of the show arriving at Lowry, Salford Quays Life chats to actor and Co-Artistic Director Nick Bunt talks to find out what it takes to bring Le Navet Bete’s unique style of controlled chaos to the stage.

We loved your version of King Arthur last time La Navet Bete toured to Lowry, Salford. What made now the right time to take on the Greek gods, and why did Greek mythology feel like the perfect playground for your unique brand of comedy?

Nick: “After ‘King Arthur’, we wanted to dive into another epic world that was universally known but with a completely fresh comedic angle. We really wanted to drop these legendary Greek gods into a surprisingly normal, relatable setting – which is actually how we came up with the idea of setting the whole thing at a hotel wedding between Zeus’ daughter and a mere mortal. The gods are larger than life, extremely petty and all awful people which makes them perfect for physical comedy and a riotously funny night out for our audiences. They’re one seriously dysfunctional family!”

The three of you play around 40 characters between you. How do you keep track of so many personalities, costumes and quick changes without descending into chaos?

Nick: “To be honest, it does descend into chaos – that’s half the fun of it! But it’s very tightly controlled chaos born from years of working together. Behind the scenes, it’s a military operation of split-second full costume changes. There’s almost more going on backstage than onstage at times! It certainly keeps us on our toes. The costumes for ‘Oh Zeus!’ are fantastically designed by the wonderful Fi Russell and really help us ‘become’ that person (or animal, at times!) and help drive the narrative along for the audience”. 

Do you have a favourite character to play or a favourite scene that always gets the biggest audience reaction?

Nick: “For me, it’s got to be Nestor, Zeus’s servant – he’s a centaur, so the half-man, half-horse costume is just brilliant fun to wear. I also love playing Thanatos, the god of death, but he’s definitely not your typical Grim Reaper. He’s the irritating guy who just hangs around making awful jokes until you want to punch him in the face so I love pushing that as far as I can! Al and Matt have some absolute corkers too that audiences instantly fall in love with. Al’s uber-macho Zeus vs Matt’s Anna Wintour-esque Hera reminds me of a certain US President and First Lady behind closed doors. Juggling all those different personalities helps build the whole mad world and keeps the story flying, and there’s a couple of brilliantly chaotic scenes where everything collides that always get a massive roar from the crowd”.

Physical comedy has become a real trademark of Le Navet Bete. How much planning goes into making the slapstick look effortless, and how physically demanding is performing ‘Oh Zeus!’ night after night?

Nick: “It is immensely demanding. Essentially every show is like a marathon! Making slapstick look effortless takes an enormous amount of rigorous planning, precise choreography, and relentless rehearsal. Every fall, slip, and comedic beat has to be calculated down to the millisecond to ensure we stay safe while making it look completely spontaneous and chaotic. By the end of a run of shows, our bodies definitely know about it, but the sheer electricity of the audience laughing back at us completely fuels the stamina and adrenaline we need to push through”.

Your productions are known for being accessible to audiences who may not usually go to the theatre. How important is it for Le Navet Bete to create comedy that appeals to everyone, whether they’re theatre regulars or complete newcomers?

Nick: “It is the absolute beating heart of everything we do. We firmly believe that theatre shouldn’t feel exclusive or intimidating. Whether you’re a seasoned theatregoer or someone who hasn’t ever stepped foot in a venue, we want you to feel included from the very first minute. When an entire auditorium of different ages and backgrounds is howling at the same silly joke, it creates a wonderful, communal atmosphere that makes for an unforgettable night out”.

The show is recommended for ages 12+, but you’ve also introduced special ‘No Kids Allowed’ performances. What can audiences expect from those versions?

Nick: “The standard show is a riot in itself but the ‘No Kids Allowed’ performances are where we really take the safety off! These ones always sell-out first. While our main shows are brilliantly high-energy and cheeky enough (think Shrek humour) these specific adult versions let us lean a bit heavier into naughtier words and humour, spontaneous audience interaction and the use of a few extra props and costume that we might otherwise rein in. The gloves definitely come off and the audience can completely let their hair down and have a wild night out”. 

The show arrives at Lowry as part of its UK tour. What are you most looking forward to about performing for Salford audiences, and how does touring keep each performance feeling fresh?

Nick: “We absolutely love it up here! I think this is our fifth or sixth time playing the Lowry (in every space). Salford and the Lowry have such a fantastic reputation for loving live comedy, and the audiences here always bring an electric, up-for-it energy. There is nothing quite like playing to a packed house in such an iconic venue and the Quays Theatre is the perfect size for our style of comedy and storytelling. Touring keeps us sharp because no two audiences are ever the same, making us play off the room, improvise, and keep the show alive. It means ‘Oh Zeus!’ is constantly evolving, making every single performance a unique live experience”.

If audiences leave the theatre talking about just one thing after seeing Oh Zeus!, what do you hope that will be?

Nick: “We hope they walk out into the foyer with aching cheeks from laughing so hard, turning to each other and saying, ‘I haven’t had a night out like that in ages.’ If they leave feeling thoroughly entertained, uplifted and buzzing from a brilliant, joyful communal experience (and maybe remembering a few of our ridiculous characters) then we’ll be happy knowing that we’ve done our job!”

Oh Zeus! is at Lowry, Salford from 28 July to 1 August 2026.

The post Le Navet Bete’s Nick Bunt on bringing the Greek gods down to earth appeared first on Quays Life.

Touring the North West with Best Girl Productions, the play explores the complex relationship between Fay, a woman serving a life sentence for murdering her husband, and her daughter Josie, who visits her after 15 years apart.

Quays Life talks to Christine and Lois to find out what drew them to Munro’s acclaimed play, how their relationship shapes their performances and why the themes of the drama are still so relevant more than two decades on.

Can you tell us a bit about the play and why it appealed to you?

Chris: “I knew of Rona’s work and was in the Royal Exchange production of Mary Barton that she wrote but I didn’t know IRON. It’s such a fascinating take on a mother and daughter relationship and you learn about them in this contained environment where the guards Sheila and George watch them constantly, as they navigate the past. She writes in a disarmingly straightforward way and yet the text is full of extraordinary images which bring to life what happened before the crime which separated them”.

Rona Munro wrote IRON over 20 years ago and it won the John Whiting Award after transferring to the Royal Court. What do you think still makes this play resonate with audiences today?

Chris: “On a theatrical level a great play is a great play and Rona is a terrific storyteller who creates characters you want to know more about. But it also explores themes which are universally relatable, not just between mother and child, but how women love, how the prison system treats women and how so many of us are looking for closure in some way in order to move on in our lives”.

You’re playing Fay, a woman 15 years into a life sentence for killing her husband. How did you approach building a character who’s been hardened by prison?

Chris: “Fay has never admitted or denied her crime. That’s so interesting to me. She has had a singularly lonely existence not having received visitors in all the years she’s been inside. For me, the piece is not so much a ‘who done it’ but a ‘why’ did
she commit this crime and as the audience discover the truth they also get to know the zest for life, funny, live-wire woman she was”.

IRON is your first time sharing a stage with your daughter Lois, even though you’ve previously written plays for her to perform. What’s different about acting together as opposed to writing for her to perform?

Chris: “Bringing ‘Best Girl’ to the Manchester Fringe, Edinburgh Festival and then on tour was such a fantastic experience. Lois was so good in it and it was a privilege to watch her on stage and amazing to share the experience with her. Lots of laughing!
I suppose the biggest difference is that as IRON is by a very established and proven writer I don’t have to worry, as I did with Best Girl, about the risk she took of being in the first play I’d written! I trust Lois’ ability and instinct completely so this feels more like two actors meeting and building an onstage relationship and that feels freer somehow”.

Lois has said acting opposite you was “always on her bucket list.” Was there a similar moment for you, where you knew you wanted to work alongside her on stage?

Chris: “As far as we know IRON hasn’t been performed with a real mother and daughter playing Fay and Josie. And there have been a few other productions with much better known mothers and daughters shows recently which probably informed our decision. So we got pretty excited by that prospect and who wouldn’t want to work with Lois – she’s ace!”

What have you learned from working together in this way?

Chris: “I think to try and be disciplined about keeping the admin and producing bits for Best Girl Productions and the ‘in the room’ creative parts separate. And to really relish in the contributions made by the rest of the creative company we’re so lucky to have on this journey with us. And we’re both Capricorns which might mean something!”

Best Girl Productions has now had KIN tour successfully and IRON heading out across the North West. What’s your vision for the company as it grows?

Chris: “I really want to build on what we’ve done so far and collaborate with good people. The strength of Manchester’s creative energy is such an inspiration for me and I’ve learnt so much; big thanks especially to Hannah Ellis-Ryan (HER Productions) and Alex Keelan for their encouragement. I have a script in the first Vignettes to be produced outside of Manchester at the Dukes, Lancaster in September and want to make short film of another script. But we’ll see. All I know is Best Girl Productions has kindness and creativity at its core. Now that might sound a mush but without those two qualities all of the things we’ve talked about in this interview wouldn’t have happened”.

Lois, you toured one-woman show BEST GIRL, written by your mother, and were nominated for Best Actor at the Greater Manchester Fringe. What is your secret to keeping both a strong working and personal relationship?

Lois: “Percy Pigs! haha. I think BEST GIRL was a real lesson in communication for us both, we were figuring it out on the job and were very relieved and thrilled to discover it was easy. We are clear with boundaries, respectful of each others schedules and excited to do the work.” 

As Best Girl Productions continues to grow with IRON’s tour, what’s it like seeing the company your mother founded, which started with your performance of her play, now expanding into work like this?

Lois: “I think it is unbelievably exciting to see BGP’s journey over the past few years. Witnessing mum’s confidence grow with each project has been fantastic, I am so proud of her and can’t wait to see what’s next”.

You’ve described this production as “an emotional rollercoaster.” How do you and your mother support each other through that?

Lois: “Everyone involved, both cast and crew are very invested in the piece and so there is an enormous amount of care being poured into the process. We are making sure everyone is feeling safe and supported to explore their characters complex emotions and relationships. Communication is key”. 

What do you think you real life relationship brings to the performance?

Lois: “I think for the audience in particular, knowing the real life relationship is there bubbling underneath, it’s going to add another layer of intensity and substance to the story. Hopefully making for a more impactful performance!”

What do you hope audiences take away from watching Fay and Josie’s story?

Lois: “I think there is something to take away from each of the characters in the play, the two guards included. Each leave you with questions and challenge you throughout. I hope the audience leave feeling that they have gone on a journey and have loved, laughed and grieved with us”.

Looking ahead, after this tour and your film debut in ‘Finding Emily’, what’s next for you?

Lois: “A big holiday! And hopefully some more juicy theatre in the pipeline”.

IRON opens its short North West Tour at HOME, Manchester on Tuesday September 15 to 19 before it heads to Hull Truck 23-24 September and The Dukes in Lancaster 30 September-3 October 2026.

The post Christine and Lois Mackie on bringing IRON’s powerful mother-daughter story to life appeared first on Quays Life.

Was there a moment when you realised you wanted to be a professional performer and is there a role that changed everything for you?

Stephen: “I was obsessed with John Travolta in ‘Grease’. I went to watch it in London when it first opened. I was obsessed – I thought, ‘I NEED to be in theatre’. That changed it for me really. I used to watch the film all the time.”

What was your first reaction when you found out you’d be playing Frank in ‘The Rocky Horror Show’?

Stephen: “Well, I couldn’t believe it first of all. When I originally wanted to audition for Rocky, I thought I’d be up for Brad and then they said, ‘No, we want to see you for Frank’. When I got it, I was ECSTATIC, I couldn’t believe that I got this role. But in the next moment, I was really anxious because it’s such an iconic role, I just want to live up to the legacy”.

Frank is such an iconic character, how do you bring your own twist to the role while honouring the legacy of past performances?

Stephen: “I remember that Christopher Luscombe, the director, said, ‘We don’t want you to do an impersonation of Tim Curry, we want to see your version’, which actually settled me. I portray Frank using an American accent instead of an English accent. Obviously, Frank’s costume is quite feminine, so I do inject an element of masculinity into my performance – my take on it is a little bit rough around the edges. The audience has mixed feelings about Frank which I love. He is a lovable psychopath! Because the character was written during the 70s glam rock era, I take inspiration from David Bowie, T. Rex and Queen. But I always find something new every performance, which makes playing this role so exciting”.

What’s your favourite part of performing as Frank each night?

Stephen: “There are two moments. One is my entrance. I’m not on stage for the first 20 minutes and the audience are waiting for Frank to come on. There’s a big drum beat before I enter and I’ve got this big old cloak on. I walk down centre stage and sing ‘Sweet Transvestite’, whip off my cloak and reveal my crazy costume. The audience goes absolutely berserk for it. It doesn’t matter if I’ve had the worst day in the world – it goes away as soon as I’m on that stage. Another special moment for me is when you see the vulnerable side of Frank. It’s like he’s taken off his mask and you’re seeing the true side of him”.

The audience plays a huge role in the Rocky Horror experience. Do you have a favourite audience interaction or reaction so far?

Stephen: “There are loads of shouts throughout the show. The audience are very much part of the show; they are almost another character. I’ve heard pretty much all of them now, so they don’t tend to catch me out. When I’m talking to Rocky when he first comes out there are a few shouts that are quite rude, and I love them! I think they’re really funny”.

What’s the most challenging part about playing Frank, either physically or emotionally?

Stephen: “It’s not wearing the heels – I absolutely love wearing those – it’s actually wearing the black corset because it doesn’t give. I make sure I eat at the right time, otherwise I struggle throughout the show. Singing and dancing in a corset means I must make sure that I eat and drink enough at the right time before doing the show”.

Frank has some iconic costumes; do you have a favourite outfit to wear on stage?

Stephen: “My favourite outfit is my finale red sequin corset. I absolutely love it. It really fits me like a glove! And it changes colour. If you push it up, it goes a black, if you push it down, it goes red”.

If you could keep one piece of Frank’s wardrobe for yourself, what would it be?

Stephen: “I do a few scenes with a leather jacket with tassels on it. I’m a motorcyclist so would love to steal it and ride my bike wearing it!”

The Rocky Horror Show has been pushing boundaries for more than 50 years. Why do you think audiences keep coming back after all these years?

Stephen: “It’s a show that celebrates what it means to be different, to follow your dreams like the song ‘Don’t dream it, be it’. There are amazing songs; I don’t think you could ever get bored with the ‘Time Warp’ or ‘Sweet Transvestite’! It’s got a lot of heart, it’s extremely funny, and it allows people to be part of it – there’s no other show like it”.

Do you have any pre-show rituals before stepping into Frank’s heels?

Stephen: “I don’t really have any pre-show rituals. But I do love makeup. Before ‘Rocky Horror’, I never liked using make-up, now I absolutely love it. As soon as I start putting the makeup and wig on, it transforms me, like I’ve got an alter ego!”

Finally, what do you hope audiences take away from seeing The Rocky Horror Show?

Stephen: “I think everyone who comes to watch the ‘Rocky Horror Show’ will have fun. It’s unique, liberating, funny, fierce and sexy. It’s a brilliant night out where everyone can be who they want to be. It’s one great big party!”

Richard O’Brien’s Rocky Horror Show tour comes to Manchester’s Palace Theatre on 27 July to 1 August 2026.

The post Stephen Webb opens up about being Frank-ly fabulous Sweet Transvestite appeared first on Quays Life.

The patient, dedicated and methodical Barnaby was played on TV for 13 series by John Nettles. “Barnaby and Troy had an almost father/son, mentor/pupil relationship and that is very much like my relationship with John. When he learned that I was taking on the role in the play, he said, ‘Well, he’s learned at the feet of the master’,” Daniel says with a smile. “That is certainly true.

“John’s advice to me has always been ’Be true to yourself,’ so that is how I have approached playing Barnaby.”

The pair starred together in the hugely successful murder-mystery show from the pilot episode, which was shot in 1996 and aired in March 1997, through to Daniel’s departure in 2003. The actor says of Nettles: “I spent all those years standing next to him, watching and listening, so hopefully I have absorbed a bit of his magic. It’s a bit daunting, because his are big shoes to fill, but I’m really excited about doing it. I think it is important not to do an impression, so I will be bringing my own ideas to the role, while honouring John’s original Barnaby’s essential attributes of honesty and integrity.”

And Daniel’s advice to the actor who takes on the role of Troy on stage? “Make it your own and enjoy it. He’s such a lovely character to play and I’m excited to see what someone else does with it.”

Published in 1987, The Killings at Badger’s Drift was the first of Caroline Graham’s Chief Inspector Barnaby books and formed the basis of that very first Midsomer Murders episode. Adapted for the stage and directed by Guy Unsworth, the play revolves around the death of well-loved spinster Emily Simpson in the picturesque village of Badger’s Drift.

Her friend Lucy Bellringer refuses to accept that Emily’s death was an accident, so DCI Tom Barnaby and DS Gavin Troy are called in to investigate – uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

The play, Daniel promises, offers “a night of murder and mystery, full of theatricality and intrigue, with the central partnership of Barnaby and Troy, a whole host of English eccentrics and this real dark undercurrent of secrets and lies going on.”

Returning to the world of Midsomer, Daniel muses: “I never thought that I would revisit it. I had such a happy time playing Troy from when I was 24 to when I was 31. It was a fantastic time in my career, but when I made the decision to leave to pursue other things I thought that was that.”

A guest appearance in the 11th series in 2008 aside, that was indeed that. But then Unsworth called up Casey to say that he was adapting The Killings at Badger’s Drift for the theatre and asked him if he’d be up for starring in it. He wasn’t sure if he wanted to go back to Midsomer at first, but then Unsworth asked him to go along to a workshop and he recalls: “Sitting down and reading Barnaby out loud, it just felt right.” Now 53, he adds: “I’m about the same age as John was when we made that original episode and it brought back so many memories from a really lovely part of my career.”

Their chemistry, Daniel remembers, was instant. They were cast separately and didn’t meet until the first read-through. “And when John walked in he had his script in a carrier bag and I thought, ‘Oh, I like him!’ We got on famously from the start.”

Casey is effusive in his praise for Nettles. “I loved playing beside him, I learned so much from him and he’s always been there for me over the years if I want to talk about anything. He’s a lovely, lovely man.” Like millions of TV viewers, Casey is also a fan of the Barnaby character. “He’s a very straight-up-and-down family man, with a good moral compass. He’s a good cop, he’s watchful and he’s thoughtful.”

Does Daniel share any of those qualities? Married to his wife Ellie since 2005 and a father of two, he maintains: “Family is so important to me too and I think I’ve got a pretty good moral compass. And I’m the fourth of five children. As a kid I couldn’t get a word in, so I’ve always been watchful.”

He’s hard-pressed to pick his fondest memory from his time on the show because “John and I sat in a car, a room and a Winnebago together for so many years, so there are loads of stories”. One abiding memory, though, is when they filmed the very first episode, The Killings at Badger’s Drift. He was supposed to pull up in front of a house and Barnaby and Troy would then step out of the car. But he got out and John didn’t. “I’d parked about two inches away from a concrete bollard and he couldn’t get out,” Casey laughs. “He was shouting from inside the car ‘Is it too late for a recast?'”

One of ITV’s most popular shows ever, Midsomer Murders is syndicated in over 200 territories worldwide. Daniel believes it’s been so successful because: “It’s set in the modern day yet it has a kind of 1940s or 1950s feel to it. It’s a wonderful form of escapism. Apparently a lot of clerics like it because it’s like a modern day morality tale. It’s good versus evil, right versus wrong. And it has such cross-generational appeal, where kids watch it with their grandparents. The beautiful countryside is another part of its appeal and it’s full of eccentrics, which British actors play so well.”

As for why Midsomer fans should come and see it on stage, he says: “It is true to the spirit of the TV show, which has an inherent theatricality to it. We’re bringing that theatricality to the stage and we have a fantastic cast of actors who are multi-roling, which gives them the opportunity to showcase their amazing acting skills. I challenge the audience to guess how many actors there are in the cast as they transform into so many different characters between scenes!”

Casey was born in Stockton-on-Tees and, at age 14, he went along to the local youth theatre, walked into the room and immediately thought, “I love it here”. He landed the lead in Bugsy Malone. “And it was amazing,” he recalls. “The week after we finished I was walking through town with my mate when a girl walking towards us screamed and went, ‘Oh my God, it’s him!’ I knew then and there that this was the job for me.”

After graduating from Grey College in Durham with a BA in English Literature, he began his professional acting career in the Hull Truck Theatre touring production of the play Dead Fish just three weeks later. Casting directors for Our Friends in the North saw him in it and cast him as Anthony Cox.

“I hadn’t been to drama school, so that was a massive game-changer for me,” he says of his three-episode stint on the show, where he played Mark Strong and Gina McKee’s son. “It was an extraordinary opportunity and just opened every door for the rest of my career.”

Parts on The Grand, A Touch of Frost and The Bill, to name just a few of his credits, followed before Midsomer Murders turned him into a household name. His post-Midsomer CV includes Steel River Blues, Marchlands, Casualty, Coronation Street, EastEnders and Emmerdale, but stage work remains a particular passion with parts in The Curious Incident of The Dog In The Nighttime, A Number and The Wings of a Dove to name a few.

Having toured in Abigail’s Party in 2019 and Cluedo in 2022, Daniel says: “I love being part of a company of actors. When touring, the challenge is to keep something fresh, real and immediate every night, and I like that challenge. There are different entrances and exits, different sizes of venues, so you’ve got to be nimble and you’ve got to be on your toes.

“Also, I’ve discovered some gorgeous places in my time when touring. You usually get told about all the little hidden gems in the area by people who come and see you, and it’s lovely to be able to meet the audience afterwards – especially with something like Midsomer Murders that’s got such a loyal fan base.”

The Badger’s Drift tour calls at Manchester, which is a score for Daniel. “I’m a big Man United fan,” he beams, “and it’s a great city. I did The Grand there with Russell T. Davies, I’ve done Corrie and I was at the Opera House with Abigail’s Party and it’s a fantastic venue in one of the best cities in the world. I also did ‘A Number’ at the Library Theatre and was nominated for an MEN Best Actor Award.”

Midsomer Murders: The Killings at Badger’s Drift is at The Opera House, Manchester from 27-30 May 2026.

The post Daniel Casey steps up as DCI Barnaby for Midsomer Murders on stage appeared first on Quays Life.

Taking on the iconic role of the titular crime-solver in ‘Inspector Morse: House of Ghosts’, Tom Chambers admits to being daunted at the prospect of following in the footsteps of John Thaw from the much-loved TV series. “But it’s a thrilling challenge,” he smiles, “and it’s a delicious treat for anyone who is a fan of Morse, like I was and indeed have been throughout the decades.”

For most theatregoers ‘House of Ghosts’will be a brand-new story full of surprising twists and turns. It was written in 2010 by Alma Cullen, who (along with Anthony Minghella and Danny Boyle) was one of the original writers on the ‘Inspector Morse’ TV show when it premiered in 1987. Cullen’s play enjoyed a small tour and a Radio 4 broadcast, but the UK tour marks the first major production of the first-ever Morse story on stage.

Reunited with director Anthony Banks after ‘Dial M for Murder’, Chambers says: “Morse is such a fantastic brand and we’re both really excited about the fact that the audience is going to see something that the vast majority of them won’t have seen before. And given that Alma was one of the original writers, he’s very much the Inspector Morse that we know and love.”

The ITV show has been hailed by Radio Times as the greatest British crime series of all time and it inspired the equally beloved spin-offs ‘Lewis’ and ‘Endeavour’. In ‘House of Ghosts’ a chilling mystery unfolds when a young actress suddenly dies on stage during a performance and Detective Chief Inspector Morse and his sidekick DS Lewis are called in to investigate, as what begins as a suspicious death inquiry takes a darker turn when they uncover a connection to sinister events in Morse’s own past at Oxford 25 years earlier.      

As for why he’s both thrilled and daunted about heading the cast for the tour, Tom says: “The thrill for me is in the dialogue and the writing, the camaraderie between Morse and Lewis and their relationship – where you have that classic thing of him putting Lewis down but with a sense of irony or jest and sometimes despair.

“So it’s great fun but daunting too, because you know that an audience is going to want to see something in the style of what they’ve seen before. They don’t want to see something that’s completely, shockingly unexpected, although there’s a different kind of energy to the setting because we’re back in 1987 where there are no mobile phones and it’s all analogue.”

Born in Derbyshire, the actor attended the National Youth Music Theatre, studied at the Guildford School of Acting and came to fame as Sam Strachan on ‘Holby City’. His theatre credits include the musicals ‘Top Hat’ and ‘Crazy for You’, as well as the thrillers ‘Murder in the Dark’ and the aforementioned ‘Dial M for Murder’.

Asked why he feels murder mysteries are so popular, especially on stage, Tom muses: “We are curious creatures, aren’t we? We like a puzzle, we like a challenge and the stimulation that goes with it. And in the theatre, of course, everyone is in the same space, in the dark, watching the mystery unfold on stage.”

Now 48, Tom adds with a smile: “I’m not necessarily someone who’s really modern and really cool, and I think Morse is like that too. He’s not necessarily chivalrous, because he can be quite hard at times; he can harsh, very black and white and very honest. He says it how it is, but he does have a sort of gentlemanly manner about him. I like playing that and exploring it.”

Tachia Newall plays Detective Sergeant Lewis and says of the character: “He’s pretty down-to-earth and hard-working. He loves his family and he’s usually thinking about getting home to his wife and kids, but he also wants to get to the bottom of the mystery.”

Is Tachia anything like that? He laughs: “I’m probably quite different because I wouldn’t say that I’m relatively chill. I’m down-to-earth, but I’m a little bit nutty. People will tell you that I’m very excitable.”

The banter between the characters is fun to play. “Lewis is really loyal to Morse and Morse in turn respects his views, even if he gets exasperated by him at times. Morse is from quite an educated background, while Lewis’s accent leads people to believe he’s not that well-educated by comparison.”

Born in Manchester, Tachia grew up watching ‘Inspector Morse’ on TV but is avoiding rewatching episodes now. “With most acting jobs that I do, if there’s been a previous iteration then I tend to stay clear of it until the job’s finished, just because I don’t want to try and emulate anything that’s been done before.”

Best known as Bolton Smilie from ‘Waterloo Road’, Newall is pleased to be reunited with Tom. Their paths crossed when Chambers did a stint on the show in 2009. “I hadn’t seen him since, so it’s good to be back in the room with him. He’s a cracking lad and he’s not changed at all. He’s still got that playful bounce about him.”

Tachia’s theatre credits include ‘Macbeth,’ so is ‘House of Ghosts’ a doddle compared to doing Shakespeare? He laughs. “I wouldn’t say it’s a doddle! This is a complex show, with complex timelines. It’s maybe easier emotionally for me, but it’s still challenging. And I just love being on the stage. With theatre, it changes every night. Just having a live audience in front of you, it brings you to life because anything can go wrong and you’ve got to be on your toes. You’ve got to be able to bring it back around.”

Murder mysteries are popular, he feels, because: “They’re such an escape from everyday life and you get to unpick things. You get to go on this journey with the protagonists, and you get to go ‘So they did it? Amazing!’.”

As for whether he’s make a good DS in real life, Tachia reckons: “Probably not. I think frustration might get the better of me. If I hit a brick wall, I might find it difficult to jump outside the box and view things from a different angle.”

Having helmed ‘Dial M for Murder’ as well as ‘The Girl on the Train’, ‘Gaslight’ and ‘Strangers on a Train’, director Anthony Banks is well-versed in stage thrillers. Summing up the appeal of Morse and Lewis in ‘House of Ghosts’, he says: “They are ordinary people who, by chance or by accident, have found themselves in these jobs as policemen working for Thames Valley police. They’re told to follow the rules, but people love them because they are messy, accident-prone individuals who are just doing a job. They’re not superheroes.

“There are various little asides where they kind of go ‘You know, we could be doing something else’ but I think that’s why people like them so much – because they recognise their faults and they are modest, and they don’t seek approval in the way that some heroes in fiction do.”

When Anthony read Cullen’s play his first thought was that, having worked with Tom on ‘Dial M for Murder’, he’d be the perfect actor to play Morse. “John Thaw is from Manchester and Tom is from the North, so there was that connection, plus he’s around the same age that John was when he started the TV series. Tom has a presence on stage that the audience warms to.”

Then there’s Tachia, about whom the director says: “I met him and immediately thought ‘I’ve found my Lewis’. He’s Mancunian, so he brings a very fresh sound to the character in a slightly working-class and very on-the-nose, straight-down-the-lens kind of way.”

Cullen’s play is interesting, he continues, because: “It’s a feminist piece of writing. Wherever possible she brings into focus what professional life was like for women in Oxford in the 1980s. Very few women held the position of head of department or professor or chair even. These were very changing times and Margaret Thatcher was running the country, but there was a massive amount of work to be done in terms of equality between the sexes. Unfortunately I think there’s still so much work left to be done on that front.”

As to why he feels it’s timely to stage the play now, Banks recalls gifting his father a book about the making of the TV series back in the 80s, in which the author of the Morse books Colin Dexter talked how the world had gone sour, people were going from one crisis to another and the Inspector was just trying to make things a little better.

That memory prompted his decision to revive a play that is set in 1987 and was first performed 15 years ago. “Now here we are, the world has gone a little sour again, we do seem to be moving from one crisis to another, and here’s this guy who wants to make things better. That struck me as a story that audiences would enjoy today.”

Inspector Morse: House of Ghosts is at Lowry, Salford from 7-11 April 2026.

The post The greatest British crime series of all time gets a stage makeover appeared first on Quays Life.

“Every year we did a show for the Stage Golfing Society. They did a ‘70s variety show and asked if I would do Eric Morecambe,” Jonty Stephens says. Sat buttoned up and thickly-bespectacled in the Lowry theatre bar, he could break into the act at any moment. Next to him, equally crisp with an easy grin, fellow actor Ian Ashpitel perches on his seat.

“And I said, well, I need an Ernie,” Jonty carries on. “And I looked over at the bar – it was the summer, and Ian had his shorts on because we’d been playing golf – and I saw his little, short, fat, hairy legs like Ernie Wise and thought, ‘he’s perfect’.”

Ian and Jonty have known each other for 43 years, only a year less than the original Morecambe and Wise. Self-confessed ‘anoraks’, the pair have built a joint career in bringing comedy’s greatest dynamic duo back to life. Following a string of sellout West End plays and an Olivier nomination, a special run of their latest show ‘Eric & Ern’ will come to the Lowry theatre this March, in celebration of the comedians’ 100th birthdays this year.

Cramming in classics from ice cream-police sirens to Mr Memory, ‘Arsenal!’, ‘Eric & Ern’ also teases a smattering of original material, based on the work of original joke-writer Eddie Braben. With the flick of a curtain and a guaranteed grand piano (if you know, you know), the show promises to bring love, sunshine, and laughter as it skips its way to the Salford stage for both old and new fans alike.

“The comedy and the writing is good,” Ian says. “It’s excellent, it’s timeless. It wasn’t cruel or horrible, it wasn’t crude, it wasn’t political. It looks easy and funny, and it should do.”

The original run of the show was a sellout, to rave reviews cheering nostalgia-done-well. With a list of gleefully manic, mischievously smug performances behind them, ‘Eric & Ern’ shapes up to be a variety act revived, promising a song, a dance, a string of gags, and if past performances are to be believed, a mystery stooge ripe for humiliation. “If this is living in the past,” one reviewer said of the 2022 run, “it is certainly a fun place to be.”

“It’s an exciting thing,” Jonty says. “The die-hard Morecambe and Wise fans, who grew up with Morecambe and Wise, bring their children or their grandchildren now. You get three generations of the same family, sat in the front row, all laughing at the same thing – that’s just so rare now.

“We’ve done a few [original] bits and bobs and people go, ‘Oh, I loved them when they did that’. And I say, ‘Well, they didn’t do that – we really did that!’. But it’s still very true to Morecambe and Wise.

“We’re in continual touch with the family, and they’ve been supportive of everything we do. They’ve seen the show, they know what we’re doing, they know what we’re including – and in fact, they’re coming to see it in Morecambe!”

In keeping with the spirit of authenticity, ‘Eric & Ern’ has already been put through the wringer of trial and error – and now stands “in the best shape it’s ever been”, according to Ian. That said, for the benefit of the audience, the pair insist there’s a line to be drawn between going through the motions and a faithful rendition.

“We’ve often talked about it,” Jonty says, “we were inspired by a live video of Eric and Ernie live at the Fairfield Halls in Croydon in the ‘70s. And we watched and watched and watched it and tried to do every mannerism, every little tick and be faithful to that, and of course we soon discovered that you’ve got a live audience in front of you that may not laugh at something that they got a laugh for at Fairfield.”

Jumping in, Ian draws an invisible string with his hand. “Tring to move your hand on a line literally drives you insane. [This show] is abandoning that,” he says. “That’s an impression, and what we’re doing is a portrayal – we’re portraying these ‘characters’. As actors, we’ve studied them as characters, and then added onto that is all the other information we’ve come up with.

“[Morecambe and Wise] were very different sorts of people, which works, because they’re a bit like me and [Jonty]. We’re like the ying and yang of each other, and I think Eric and Ernie were like the ying and yang of each other. That’s why they worked. That’s why we work.”

The pair have come far since their early golf club days, and their even earlier days in acting school where they were routinely asked if they were a double act (to which they would answer, in unison, ‘no’). Having since exploded as the UK’s most successful Morecambe and Wise duo, neither see themselves hanging up the jackets just yet.

“We are Eric and Ernie, for this set amount of time, and then after this, we’re still actors trying to do other things,” Ian says. He smiles: “But we never had a clue it would be this successful or last this long. This is our baby.”

“Without the talent of Morecambe and Wise, we wouldn’t be doing it,” Jonty nods. “We shine a light on that talent, and for that moment, that two hours that you’re in the theatre, we hope people forget where they are and all the horrible things that are going on in the world, and we take them away from that and they have a good old laugh.

“They were loved, so hopefully if we do a good job, we get a bit of that love from the audience. We’re very lucky in that respect: it’s wonderful to do.”

It must be an incredible feeling to get to perform with your best friend, too. “Yeah, it is,” Ian laughs. “He’ll be here in a minute!”

‘Eric & Ern’ is at Lowry, Salford from 24 to 28 March 2026.

The post “You get three generations of the same family, all laughing at the same thing – that’s just so rare now” – Jonty Stephens appeared first on Quays Life.

Now arguably the biggest showdown in pop history has opened a new front – on the stage, with ‘The Battle’ transporting modern-day audiences back into the midst of what has been described as ‘the sweaty mid-90s carnage of the Battle of Britpop’.

Blur verses Oasis, art school intellectuals verses plain-speaking working-class lads, South verses North. The battle lines that were drawn then are revisited here in writer John Niven’s swaggering and audaciously funny story.

But while the production is infused with the sounds of the Britpop era, anyone expecting a 90s jukebox musical or a live gig may be in for the first of several surprises.

“We’re much more interested in the drama of their lives than in the drama of the music,” explains ‘The Battle’ director Matthew Dunster. “Really, it’s a play about friendship and ambition, and how the latter might break the former.

“When John thought about the events, in his mind he thought it could be like a sweaty David Mamet play where people were in rooms, and the emotional temperature is ramped up a little bit more with each scene.”

Thus, this battle unfolds not on amp-stacked stages in front of thousands of music fans, but on the fringes of award ceremonies, in recording studios, pubs and dressing rooms, beyond VIP ropes and at home behind closed doors.

Dunster was approached to join The Battle’s creative team early on and has worked closely with first time playwright Niven to recreate the intense, simmering sense of rivalry and rising tension underpinning the real-life 90s clash which spilled over from the charts and tribal fan factions and into the wider public consciousness.

It’s an era both know well – Niven as a former A&R  (Artists and Repertoire) man in the record industry and Dunster as a music fan who was there in the middle of it.

“As soon as I heard ‘Battle of the Bands’ it transported me straight back,” says the director, who reveals he saw Oasis play their fourth ever gig when they supported his friend’s group at The Hurricane Club in Oldham.

As for the ‘battle’ itself, he says he bought both singles and “was more excited about the event and the competition than taking sides.”

“I think I was probably emotionally team Oasis,” he admits, “but artistically I thought at that point that Blur were streets ahead. Then in the next 12 months, Oasis released ‘(What’s the Story) Morning Glory?’ and from that point on…it was all Oasis.”

Meanwhile actor Mathew Horne was a music-mad 16-year-old, although he too maintains he didn’t mind who won the chart-busting head-to-head.

“It probably sounds like an actor being diplomatic, but from my experience, everybody I know was both Blur and Oasis,” says Nottinghamshire-raised Horne, who plays the late Blur manager Andy Ross, the man who signed off the decision to release Country House on the same day as Oasis’s Roll With It.

“My record collection is of equal size, and the number of times I’ve seen Blur and Oasis are the same too. And I think the outcome of the battle for number one didn’t really matter. What mattered was our movement, the thing we were part of, was suddenly seen by everybody.”

It means that alongside decades of storytelling experience, both director and actor bring with them first-hand knowledge of the cultural phenomenon that was Britpop.

Horne has also, rather like his character, found himself in the position of a kind of paternal figure to the young cast, some of whom weren’t even born when the real-life showdown took place and have scant knowledge of the time – a fact which, it turns out, has also informed the creative approach when revisiting the events of 30 years ago.

Dunster recalls: “When I was auditioning people I’d ask: ‘did you know about this?’, and they didn’t. They said: ‘I know about Blur and Oasis because my dad’s into them, but I didn’t know about this battle’. So, the audience (too) could be very split in terms of who knows the outcome and who doesn’t.”

But whether or not theatregoers already know what ultimately happens, he says “I think you’ve just got to play the stakes of the characters on stage. And they get increasingly wound up and neurotic and frazzled by the competition they’ve found themselves locked in. It’s the biggest thing any of them had ever been part of.”

Saying that, he adds: “Having been to see Oasis last year in Heaton Park, it was incredible how there was a real mix of people, from 16 to 65, and everybody seemed to be as into it, and everybody seemed to know every word to every song.

“It would be great if we had a similarly broad range of ages (in the theatre). That would mean people will get different things from it. I’m not afraid of the nostalgic side of it: that’s really good fun, exploring a moment in time.”

Meanwhile Horne, who also saw the Mancunians on their triumphant 2025 reunion tour, points to the current “huge zeitgeist of 90s nostalgia”. And it’s true that right now the music, fashion and culture of the final decade of the 20^th Century is certainly enjoying a resurgence.

Between those who lived through the era, the music of the time being sought on streaming platforms and shared on social media, and with rappers Drake and Kendrick Lamar keeping the grand tradition of the music feud alive, ‘The Battle’ should hopefully resonate with everyone who sees it.

“At the end of the day if you have even a passing interest in music, which most people do, there’s something in there for you,” Horne says. “I’m really excited to see what people think.

“I hope we deliver for audiences on a nostalgic level. And I also hope that we deliver for them in terms of making a really funny piece of theatre – one with a huge, hilarious twist.”

The Battle is at the Opera House, Manchester from 17 to 21 March 2026.

The post Matthew Dunster and Mathew Horne on bringing the ultimate battle of the bands to the stage appeared first on Quays Life.

Could you introduce us to Murder at Midnight?

Jason: “It’s a brand new comedy-thriller from a great writer called Torben Betts, a follow-up to his play Murder in the Dark. It’s a blend of razor sharp wit and gripping murder mystery, full of twists and turns, dark humour, and chilling suspense. Throw in a suitcase full of cash, a bunch of ravenous dogs, a chainsaw and an unsolved murder, and what’s not to like? If Tarantino was to write a play, this would be it. And I can guarantee it will keep the audience guessing almost until the curtain comes down”.

Tell us about your intriguingly-named character, Jonny the Cyclops

Jason: “He’s such a colourful character, who lives in a luxury Kent mansion, where the play is set. Essentially he’s a one-eyed drug dealer, pig farmer, and notorious gangland killer, whose past is catching up with him fast. Everyone in the play is hiding something, not least Jonny. We also meet his mum, his girlfriend, his trigger-happy sidekick, a vicar, and a nervous burglar dressed as a clown. It’s a heady blend, and I can’t wait to bring Jonny to life”.

You go back a long way with the director, Philip Franks

Jason: “I do. He played Sergeant Craddock to my PC Mike Bradley back in our Heartbeat days, when we spent several happy years up in Leeds filming the show. And he’s become not just a dear friend but a terrific director as well. So it’s lovely to be working with him again. And I’ve wanted to work with Original Theatre since they started 20 years ago, so it’s great we’ve finally made it happen”.

There are also some fellow TV stalwarts in the cast, including Susie Blake, Max Bowden and Katie McGlynn

Jason: “It’s a fantastic company, we’re really blessed. When you get to work with people with naturally funny bones it’s just such a delight. We’re still in rehearsals but we get on famously already, so I’m sure that’ll continue out on tour. We’ve got a great support cast as well, an outstanding bunch of actors. I think one of the challenges will be that we might have too much fun, and I’ll be struggling not to laugh the whole time”.

Do you enjoy the touring life?

Jason: “I do, and I know a lot of the venues we’re visiting very well. They’re just right for the show, intimate enough that the audience will feel they’re really part of the show. I’m looking forward to seeing how audiences in different parts of the country react, and keeping them on the edges of their seats. I’m really excited to get out there”.

What was the initial instigator for you becoming an actor?

Jason: “I always knew I wanted to act, every since being a young boy. We had a dressing up trunk full of funny hats and props, which I loved playing with then and have ever since. I’ve been fortunate in my career, starting off at the Royal Shakespeare Company and then getting to explore a huge range of roles on screen as well”.

Do any particular roles stand out over the years?

Jason: “I love variety and mixing things up. I’ve got to play everything from a knight in shining armour in Gawain and the Green Knight, to a gay punk in Young Soul Rebels, to a sociopathic serial killer in Above Suspicion. I even played Tony Blair on stage in the satire Follow My Leader, which was a riot. It’s difficult to pinpoint a favourite, but I just try to bring humanity to all of them. The most interesting role is always the next one, and Jonny is certainly interesting!”

What do you most often get recognised for?

Jason: “I still get people talking to me about Heartbeat, and saying they’d love the show to come back. I also often have people ask me about my character in Casualty, who had bipolar disorder, and they’ll say he helped them to understand the condition better, which is lovely. But every conversation is different. It’s still the strangest thing when you’re on holiday somewhere and someone will walk up to you and say how much they enjoyed Above Suspicion”.

How do you relax away from acting?

Jason: “I live in the Cotswolds, and I love being surrounded by nature. I probably need to get out more, because I spend more time talking to animals than people. But I also love to keep fit whether it’s going to the gym or climbing, and I read a lot as well. When you’re on stage or filming a TV show it can be very intense, so living in a rural setting is the ideal way to get away from it, and spark new ideas”.

Murder at Midnight is at Lowry, Salford from 19-24 January 2026.

The post ‘If Tarantino was to write a play, this would be it’ – Jason Durr appeared first on Quays Life.

You recently finished your run at the Royal Court in ‘Deaf Republic’. How did it feel to share your work as a sign language poet on such a prominent stage?

Zoe: “It was an amazing privilege to work on such a high-profile production with Dead Centre, with that level of production values. The set, aerial, puppetry, and technical spec of the production was impressive and the reception from Deaf audiences was great. Some people have commented that this was their favourite translation of the Deaf Republic poem. The whole thing was really unbelievably inspiring and I hope the production builds on its success and continues to thrive as a production. Everyone has said they absolutely loved the set, the signed dialogue and loved the translation. It is a huge honour to receive this praise from the poet author. Following Deaf Republic’s successful opening run at the Royal Court, I know there is a lot of enthusiasm for further performances after the Dublin run and I hope to see it on tour in the future. The whole experience was incredibly positive”.

You’ve also worked as a consultant for the RSC. What do you think is most important for hearing people to understand about representation of the Deaf community on stage?

Zoe: “I think the most important thing for hearing people to understand is that in order to work in a production with dialogue in BSL, they would need to already have a grasp of this language because if hearing actors don’t know sign language already, it’s not possible to teach them a language from scratch that will have any believability, certainly to a Deaf audience. Also, a hearing perspective on the Deaf experience can only ever be superficial, so it’s vital to have Deaf creatives in collaboration and there are plenty of hearing actors who are CODAs (child of a deaf adult), or have Deaf family or who otherwise sign, who can be cast alongside Deaf characters (played by Deaf actors), so there is credibility for those relationships/interactions and this is where, I believe, so many productions fail, because they don’t think of or understand this.

“Importantly, casting panels need to have Deaf representation so that they can accurately assess a person’s sign language skills or proclivity for taking on and learning some BSL and often this is totally overlooked by an all hearing casting team, which is hugely frustrating, as it adds a huge burden and extra work, not to mention the time cost associated with teaching BSL, additional time for script translation and necessity for BSL consultancy roles to support actors with text translation and I feel like we need to move away from this model of using BSL consultants as the ticket to achieving cultural sensitivity when there is so much more involved in achieving cultural credibility than merely ensuring the dialogue is signed well. It’s about how events happen, how characters relate to one another in the context of the play”.

Following Eloise Pennycott’s New Views competition win, Barrier(s) was first staged as a short play at The National Theatre. How has it developed for this new production?

Zoe: “So, I didn’t get to see The National Theatre staging of Barrier(s) after it won the New Views competition, but I know it has evolved a lot since then and of course Eloise has written more scenes for the play and the characters of Katie and Alana’s backstories have developed a lot and influence the play’s overall narrative arch and the building of the world of the play”.

Can you tell us a bit about your character Katie? What drew you to this role?

Zoe: “My character, Katie, like me, is profoundly Deaf, from a strong Deaf family that has a multigenerational line of Deafness in their genes. Katie talks about the barriers her parents and grandparents faced and this resonates with me, as someone coming from a long line of Deafness. Katie is not a saint and she’s not the perfect victim. It’s really nice for me to play a complex character who isn’t perfect. She’s cheeky and I think people either love her, or hate her, which is what real life is like, and it makes her a fun character to play. There are of course some really tough themes in the play and Katie goes through a lot, so I have empathy for her”.

How does it feel to be the first actor to create this role in the full-length version of the play?

Zoe: “I feel really lucky to be offered the opportunity to play and improvise during rehearsals. It has been a really fun process and it’s been amazing to be able to discuss directly with Eloise, the writer of the play, and the creative team throughout the writing and rehearsal process, to have all the differing perspectives that feed into the narrative and the two characters themselves. It’s been a real privilege to be part of the first production of the play and its future legacy”.

Barrier(s) explores connection through language and its barriers. How do you think this theme will resonate with audiences?

Zoe: “I think the modern world of social media, people being censored on and offline with what they can and cannot say – language being policed? – current police arrests for people using particular language etc. means that the play’s themes of connection through language and its barriers are very relevant.

“Also, the way big corporations manipulate through language and the current rush to collect and feed AI language models influences and changes how we all use language and connect. Hopefully audiences will watch Barrier(s) and understand that no matter the language divides we may have, we can still jump over these divisions and connect meaningfully with one another without risk or harm.

“It’s great to see Alana’s character being proactive and learning BSL and we see Alana’s language skills develop through the play, like a kind of timelapse, as the play covers an extended period of time that scenes jump through. I think this could inspire audiences, and maybe some people will make that step to be proactive themselves and learn sign language”.

What would you like people to know about the play?

Zoe: “Prepare to be surprised. Prepare to have your mind opened, to discover a world maybe unknown to you, an extra layer of intersectionality you’d not yet considered.
The play is a love story, a lesbian romance about the meeting of two people. I’ve personally worked hard to create scenes that feel authentic, truthful, soft and loving – so you have that to look forward to!”

Deafinitely Theatre’s production of Eloise Pennycott‘s Barrier(s) is at Home, Manchester from 6-8 November 2025. Age recommendation 14+ The play is also touring to The Rep, Birmingham, before ending its run at Camden People’s Theatre in November.

Read our review.

The post Actor Zoë McWhinney – “Maybe Some People Will Make That Step To Learn Sign Language” appeared first on Quays Life.