Next month, Harry Hepple is set to perform as Tony in the special charity concert of Victoria Wood’s Acorn Antiques The Musical at Manchester Opera House (Sunday 2nd and 16th November) and West End’s Shaftesbury Theatre (Sunday 9th November), and it is celebrating 10 years of Hope Mill Theatre. The West End revival of Hello, Dolly! was set to open in 2020, but was delayed until 2024, and Harry played Cornelius Hackl in the musical at The London Palladium, and he previously played King George III in Hamilton, and returned for a limited run last year. Over the years as a theatre actor so far, Harry played Charles Guiteau in Assassins at Chichester Festival Theatre, Ludo/Remi in Romantics Anonymous at Bristol Old Vic, which was streamed online during the coronavirus pandemic, and in 2019, he played Young Buddy in Follies and Richard in Rutherford and Son at the National Theatre. Further stage credits for Harry include playing Pippin in Pippin, Neil in The Lightning Child and Chip in Spelling Bee. As a screen actor, Harry is probably best-known for playing Leo in Boy Meets Girl, and he has filmed for The Red King, The Chelsea Detective, The Teacher and Moving On, as well as the feature films Stan & Ollie and Peterloo. We chatted to Harry about the upcoming special charity concert of Victoria Wood’s Acorn Antiques The Musical, his time as King George III in Hamilton and playing Leo in Boy Meets Girl.

It has been announced that you are performing as Tony in the special charity concert of Victoria Wood’s Acorn Antiques The Musical, how does it feel to be part of the event, which is celebrating 10 years of Hope Mill Theatre?

It feels brilliant. The Hope Mill has become such an important part of the UK theatre landscape over the last decade – it’s championed so much great new work and provided a home for artists and audiences who love musical theatre. To be part of this celebration, and in a show that’s such a joyous piece of comedy history, is a real treat.

What are you looking forward to about performing at Manchester Opera House and the West End’s Shaftesbury Theatre?

Both venues have such history and atmosphere, so I’m really looking forward to stepping onto those stages. There’s something wonderful about performing a show that’s so rooted in British humour in front of audiences who know and love Victoria Wood’s work. And because it’s a concert, there’s an extra sense of occasion, a real one-off, celebratory feeling.

Can you tell us about Acorn Antiques and was there anything that drew you to the concert?

It’s a gloriously funny, affectionate send-up of a certain kind of British soap opera, complete with wobbly sets, missed cues and heartfelt (if slightly misguided) sincerity. What drew me in was the combination of that comedy with Victoria Wood’s incredible music and lyrics – they’re clever, warm, and just very, very funny. And for a good cause too, which makes it even better.

How familiar are you with Victoria Wood’s work and how is it being part of a concert based on her much-loved sketches?

I grew up watching Victoria Wood; her humour is so deeply woven into British culture that even if you didn’t watch her live, you still know her jokes, her rhythms, her warmth. She had this extraordinary gift for writing characters who were recognisably ordinary but totally unique. To be part of something that celebrates that legacy is a real honour.

How are you preparing for the performances and have you worked with any of the cast previously?

Well, rehearsals haven’t started yet, but when they do, there’ll be a lot of laughter, I’m sure. Because it’s a concert, it’s about capturing the spirit and comedy of the piece in a very short space of time. And this is the cast to do it! I’ve been lucky to work with a couple of the cast before and with our wonderful musical director, Nigel Lilley, but it’s safe to say I’m a fan of everyone’s work. It’s always nice to walk into a room of familiar faces, especially on something that’s all about warmth and camaraderie.

Who do you think will enjoy watching Acorn Antiques The Musical in Manchester and London next month?

Anyone who loves Victoria Wood, good musical comedy, or just a great night out. It’s the sort of show where you can’t help but smile. Fans of the original sketches will get all the in-jokes, but even if you’re new to Acorn Antiques, the humour, music, and heart are totally infectious.

In the West End revival of Hello, Dolly! at The London Palladium, you played Cornelius Hackl, what was it like taking on the role and performing in the musical?

Cornelius is such a joy to play, full of hope, heart, mischief and energy! I lost two stone while playing him. Hello, Dolly! is one of those golden-age musicals that’s pure theatrical magic, and to do it at The London Palladium with that incredible company and creative team was an absolute dream come true.

The show was originally set to open in 2020 but delayed until 2024; how was it finally opening and seeing the fan response?

It was emotional, honestly. After such a long wait, stepping out on that stage for the first performance felt like a celebration – of theatre, of resilience, of being back together doing what we love. The audience’s response to Imelda (Staunton) walking out on that first night was overwhelming; the roar! You could feel how long people had been waiting for this.

How was your time in the cast of Hamilton as King George III and what was it like returning for a limited run last year?

Playing King George is just enormous fun; he’s outrageous, ridiculous, and gets some of the best comic moments in the show. It’s such an incredible show. Coming back to it after a while away was an unexpected joy; it’s such a well-oiled machine, but every performance still feels electric, and that’s due to the audience.

You portrayed Charles Guiteau in Assassins at Chichester Festival Theatre; how was it getting into character and being part of telling that story?

Guiteau is a fascinating character – delusional, charming, and deeply unsettling. Assassins is one of Sondheim’s most complex and provocative pieces, and getting under the skin of someone like that was both challenging and rewarding. Polly Findlay and the Chichester team created such a bold, inventive production, and the cast was top class! It was a privilege to be part of it.

Can you tell us about playing Ludo/Remi in Romantics Anonymous at Bristol Old Vic, which was streamed online during the pandemic?

That was such a special project. Not least because I got to work with my partner, the incredible Carly Bawden. I think we were one of the first to attempt a livestreamed musical during lockdown, and there was this sense of ‘we have to find a way to keep theatre alive’. Romantics Anonymous is beautifully intimate, full of heart and humanity, and knowing people were watching all over the world made it feel strangely connected at a time when everyone was apart.

What was it like performing in Follies (Young Buddy) and Rutherford and Son (Richard) both in 2019 at the National Theatre?

Two very different worlds!

Follies was an actor’s dream with Sondheim’s music, Bill Deamer’s choreography, Dominic Cooke’s direction and that incredible company. It was a privilege.

Rutherford and Son was gritty, emotional and powerful in a completely different way. Doing both in one year was a reminder of how varied and exciting theatre can and should be.

You’ve played many roles including The Baker in Into the Woods, Pippin in Pippin, Geoff in A Taste of Honey, Neil in The Lightning Child, and Chip in Spelling Bee; what are some favourite highlights?

Each role has something special. Playing Pippin at the Menier was pure joy; it was my first time playing that space, and I was struck by how intimate it is – you feel every heartbeat in the room. The Lightning Child by Ché Walker was bold and brilliant and a bit of a fever dream. As any adaptation of The Bacchae should be! The cast was off the charts, the music (by Arthur Darvill) was a bona fide funk fest, and Matthew Dunster’s direction was slick. Deep, deep joy! Spelling Bee at the Donmar was huge fun; it was the first time the fantastic Katherine Kingsley and I worked together, and I’m delighted to be reuniting with her again on this. It was a superb cast and brilliantly directed by Jamie Lloyd… but I’m not sure what became of him!

As a screen actor, you’ve filmed The Red King, The Chelsea Detective, The Teacher and Moving On; how was it playing guest characters in these shows?

I love the variety that screen work brings; every set has its own rhythm and tone, and you get to step into very different worlds for a short time. The cast and crew on those shows were brilliant, and as a guest, you try to fit into that world quickly and bring something truthful to it.

How did you find the experience on set of the feature films Stan & Ollie and Peterloo?

Both were extraordinary experiences in completely different ways. Stan & Ollie was full of warmth – you could feel the affection everyone had for Laurel and Hardy. Peterloo was on a mammoth scale, and Mike Leigh’s process is incredibly detailed and collaborative. You build your character with him slowly. First, it’s just you and him in a room. Then, gradually over the course of a few weeks, more people appear who’ve been doing the exact same process. Then more people, then more… I think we spent nine months from start to finish, so it was fascinating to be part of that style of world-building.

Do you have any stand-out memories from starring as Leo in Boy Meets Girl?

That show will always have a special place in my heart. It was the first UK sitcom to centre on a trans love story, and working opposite Rebecca Root was a joy; she’s a brilliant actor and a wonderful human being. The messages we continue to receive from viewers who felt seen by it are deeply moving. It’s disappointing the BBC haven’t rerun the show since its initial release, but I believe it’s available on Amazon Prime.

How did you get into acting and was it always something you wanted to do professionally?

Sort of. I was one of those kids who was always singing and dressing up as my favourite characters. I didn’t study drama properly until later, but I think the seed was planted early. Hockey was my first passion, and I played to a relatively high level. I made the England U16 squad and was all set to make hockey my life, until a family friend suggested applying to the National Youth Theatre. That changed everything! I was lucky to have family, teachers and mentors who encouraged me to pursue it as a career.

What are some of your favourite films, TV and theatre shows to watch, and how do you like to spend your free time?

Like everyone, I love a good mix – anything from classic films to movie musicals, to smart, character-driven dramas. Succession, Barry, The White Lotus, and Only Murders in the Building have been recent favourites.

In my downtime, I’m happiest walking the dog, climbing, cooking, or writing music with my partner in crime, CB.

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