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As Marylebone Theatre prepares to open a seminal revival of Arthur Miller's The Price, Elliot Cowan sat down with us to talk about taking on the role of Victor Franz, a man grappling with the physical and emotional debris of a family estate. As a veteran of the stage, he's become known for his ability to inhabit characters defined by internal conflict. Indeed his career has seen him move seamlessly between the physical demands of the stage and the precise requirements of screen acting. The new production at Marylebone reunites him with director Jonathan Munby and serves as a testament to Elliot's versatility, placing him at the heart of a timely exploration of sacrifice, duty, and the American Dream within an intimate performance space.

In this brand new interview, Elliot Cowan opens up about the changing environment for actors and the psychological toll of the actor’s craft. We talked about his role as Victor Franz very much mirrors his own life right now as he approaches 50 and how he himself feels has paid "the price" for longevity in this industry. Our conversation also addressed contemporary challenges facing actors in 2026 as demands on actors continue to shift and evolve. We also reflected on his role as the title character in Macbeth, starring opposite Laura Rogers and how he learned to play to a theatre like The Globe. Indeed, we also delved into his early training as he notes both Laura and John Hopkins who he stars alongside in The Price all trained at RADA around the same time. We learn what has stayed with him since those early years and how he continues to cross paths with peers decades into his career.

The Price runs at Marylebone Theatre from 17th April - 7 June.

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Ahead of his return to the Donmar Warehouse for the first time since 2010’s Polar Bears, multi-award-winning actor Paul Hilton sits down to discuss his role as Richard in the world premiere of Fran Kranz’s Mass. Paul delves into the psychological weight of portraying a father navigating the devastating aftermath of a school shooting under the visceral direction of Carrie Cracknell. We hear him reflect on the unique technical demands of the Donmar’s intimate space, inviting the audience in to join a high stakes meeting in a church basement. Our conversation explored his process of physical discovery in the rehearsal room and the challenge of finding "play" and lightness within such profound human tragedy.

In this new interview, Paul Hilton offers a rare, introspective look at a career that has led younger peers to describe him as one of the greatest actors of our generation. We revisit his transformative time sharing the role of Tom Wingfield in The Glass Menagerie with our former guest Tom Glynn-Carney and his recent, acclaimed transition between Ibsen’s moral pillars, Father Manders and Peter Stockmann. With his own son Kasper Hilton-Hille now following in his theatrical footsteps, Paul shares his reflections on mentorship, the evolving nature of the industry, and why the theatre continues to act as a sacred space for him and his family. We are treated to a warm and deeply personal exploration of a master craftsman as he continues to challenge the boundaries of contemporary theatre.

Mass runs at Donmar Warehouse from 18 April - 6 June 2026.

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Since her debut, West End rising star Gracie McGonigal has gone from strength to strength and is now in the centre of the world's attention on screen, with her milestone casting as Hazel in the fourth season of Netflix’s 'Bridgerton'. We hear her reflect on the significance of the role, noting the production's inclusive approach to disability. This television debut marks a pivotal shift in her career, offering a broader platform for her advocacy for authentic representation within the entertainment industry.

During our interview with Gracie McGonigal, we explored her theatrical roots, as she continues her run as Red Riding Hood in the Bridge Theatre’s acclaimed revival of Into the Woods. We also discussed her earlier work as Susanna Walcott in the National Theatre’s production of The Crucible and her relationship with director Lindsay Turner who she recently reunited with on The Little Foxes. Gracie reflected on the technical contrasts between the rigorous, repetitive nature of live theatre and the fast-paced, intuitive demands of a major television set. Throughout the interview, she emphasized that while she is an advocate for disabled performers, her primary goal remains the pursuit of complex, diverse roles that challenge traditional industry casting standards.