For the Globe’s 2024 summer season, Matthew Ashforde was in the cast of Princess Essex and The Taming of the Shrew, with Anne Odeke having written and starred in Princess Essex. Matthew played Natty Hemworth in Distinguished Theatre at Finborough Theatre, and he was nominated for an Off West End Theatre Award (Offie) for Best Supporting Performance in a Play. In 2019, Matthew starred as Fagin in Oliver! at Aberystwyth Arts Centre, having previously been in the cast of the musical, both in 1997 at The London Palladium and in Cameron Mackintosh’s first production of Oliver! at the Albery Theatre (now Noël Coward Theatre), which marked Matthew’s professional stage debut. A further stage role for Matthew saw him play Ebenezer Scrooge in A Christmas Carol at Birmingham Rep, and as a screen actor, Matthew has had guest roles in shows such as Call the Midwife, The Larkins and Sliced in recent years. Across the first three series of CBBC’s Hetty Feather, Matthew played the regular character Cranbourne, and he has previously played Darren in all episodes of Is It Legal? and worked on a number of episodes of Mr. Bean. Speaking with Matthew, he told us about being in the casts of Princess Essex and The Taming of the Shrew at Shakespeare’s Globe, performing as Natty Hemworth in Distinguished Villa, starring as Fagin in Oliver! and his screen roles including the sitcom Is It Legal? and CBBC’s Hetty Feather.

Most recently on stage, you were in the casts of Princess Essex and The Taming of the Shrew, both at Shakespeare’s Globe; how was it performing in two shows as part of the Globe’s 2024 summer season?

It was incredibly exciting to be part of two different productions. They were both so different in concept, style and content. On some days, we would do a matinee of one and then the evening performance of the other! Challenging but enormously enjoyable too.

What was it like working on the world premiere of Anne Odeke’s new play Princess Essex as Mr Bacon/Ensemble (with Anne also starring as Princess Dinubolu) and was there anything that drew you to the production?

It was a highlight in my career to be part of telling such an important historical story. It was Anne Odeke herself who drew me to the project. I had worked with Anne briefly a few years before and had always remembered her aura and charisma. So, when I was invited to R&D (research and develop) the piece at Shakespeare’s Globe, I jumped at the chance to work with Anne again.

After a couple of brilliant R&D sessions, I was invited to join the cast for the full production. The themes of racism, misogyny, belonging, love and hope within the play were challenging and triggered lots of mixed feelings in the rehearsal process. Some days were full of tears and fears, and other days were filled with laughter and joy. It really was an emotional roller coaster of a rehearsal process.

Anne and our director Robin Belfield cast an incredible group of courageous and caring actors (and me!), so we got through it as a tight-knit community, full of empathy along with a collective sense of humour. Anne was an incredible leading lady, who led the rest of the cast with such integrity and passion. She was utterly inspiring.

The role of Mr Bacon was a dream of a part to play. A man who, on the surface, was full of confidence and charm, but, like many men of his generation, was very much hiding feelings of vulnerability alongside his grief for a lost child.

How was it being in the Ensemble of The Taming of the Shrew and what was it like covering the co-lead role of Petruchio?

I actually had to cover all the male roles, which would have been impossible to learn off book! The Globe have a wonderful tradition of two actors covering all parts while also playing small parts themselves. On the occasions that I went on as cover, I would be ‘on book’, which meant action carrying the script.

I would, of course, have studied the stage directions and have a deep understanding of each of the characters, as well as knowing their dialogue to a point where my head was not buried in the script. Nonetheless, the script was there as a safety net and was much needed on occasion!

It was very thrilling going on at short notice, and the audiences at The Globe were always so receptive and supportive to the concept and challenge. It was exactly what regularly happened in Shakespeare’s day.

What did you enjoy most about performing at Shakespeare’s Globe and how different did you find performing in a new play there opposed to a well-known William Shakespeare play?

The space and atmosphere of Shakespeare’s Globe are utterly unique in terms of theatre spaces, so that was the most enjoyable element – the incredible atmosphere.

As for being in a new play, I think it’s vital that new writing is given a platform at a venue as well-known as Shakespeare’s Globe. It’s authentic too if you think about it, because back in the day everything performed there was indeed new writing by William Shakespeare!

Can you tell us about your time playing Natty Hemworth in Distinguished Villa at Finborough Theatre, and how was it being nominated for Best Supporting Performance in a Play at the Off West End Theatre Awards (Offies)?

Another theatre highlight for me. A brilliant, forgotten play set in a semi-detached house in south London in the 1920s. My character Natty suffered from PTSD from the First World War and was stuck in a marriage without kindness or intimacy of any kind. He secretly fell in love with the lodger but did not dare act upon it. Instead, he became more depressed and slowly broke down, ending up taking his own life.

It was deeply upsetting to watch. I was often aware at audiences quietly crying (it’s a very intimate theatre!) at Natty’s own tears and despair.

I found it very challenging and exhausting to dig into those emotions for eight performances a week. Halfway through rehearsals, I thought I just didn’t have the ability or capacity to portray Natty’s emotions or thoughts etc and very nearly ran away from the project. Luckily, during a late-night cry-for-help telephone conversation, a dear friend (the brilliant actress Eva Pope) convinced me that I did have it in me. I went into rehearsals the next day and kept going. Nobody knew how very close I came to jumping ship!

After one performance, I walked into the dressing room last to find the other five cast members stood in a group arm in arm, facing the door and awaiting my arrival. As I entered, they cheered and announced my nomination. They were so supportive and pleased for me. I had no idea – nominations and awards never really enter my thoughts, and I have never given them much attention, until that is you are nominated! Then I weirdly found myself somewhat sucked in and it was a bit of a distraction, to be honest. I think it can be if you receive a nomination for a performance you are still doing.

Anyway, I didn’t win, which I genuinely found disappointing at the time, which again surprised me! Awards, eh? Not important until suddenly they are!

However, I look back on that play with great affection and pride. It was a brilliant cast, and we are all still firm friends. Plus, I met my amazing partner, who worked at the theatre at the time, so the whole experience was just brilliant!

In 2019, you starred as Fagin in Oliver! at Aberystwyth Arts Centre, what was it like taking on the role of Fagin and returning to the show, having played Noah Claypole at The London Palladium in 1997?

A full-circle moment indeed. I made my professional debut in Cameron Mackintosh’s first production of Oliver! at the Albery Theatre (now named the Noël Coward Theatre) in the West End at the age of ten, where I played one of Fagin’s gang.

Then I played Noah Claypole in the Sam Mendes production many years later at The Palladium, as mentioned.

I absolutely loved playing Fagin in the Aberystwyth production. I have never worked at a theatre that has been so loved and supported by its surrounding communities. It’s the only theatre for many miles, so it was a production that virtually sold out every performance over a three-month period.

It’s a wonderful show that is darker than it is sometimes given credit for. The brutality of Victorian London and the exploitation of the poor and vulnerable are, and should be, at the heart of any production of Oliver!.

The music too, of course, is brilliant. Reviewing The Situation, when performed in context to the story, is a gift of a song for an actor – an absolute joy to perform the pathos, hope, fear and comedy in one brilliant solo.

As for the wig and beard – despite the time it took and the sweat it induced – I utterly loved looking in the mirror at this complex and eccentric reflection every day!

How was it telling the story of A Christmas Carol at Birmingham Rep as Ebenezer Scrooge and what was Scrooge like to play?

Wow – these questions really are reminding me of how many brilliant experiences I have had as an actor in theatre. I’m truly grateful to be encouraged to think back to these experiences!

Scrooge was another brilliant complex role. Another male character hiding his pain and vulnerability from the world and indeed himself.

The Birmingham Rep is another exceptional theatre, and was another thrilling experience for me. The production was brilliantly directed by one of my favourite directors Tessa Walker. Trivia moment… she would drink at least five/six cups of tea every day during rehearsals and always cradled her mug with such appreciation, love and care – exactly how she treated us as a cast!

The set and costume design were brilliant, and the music and lyrics were written for the production by the genius Jason Carr. His songs were so witty, clever, dark, and funny too.

Unfortunately, on the last day of a gruelling four-day tech, dealing with climbing walls and large trapdoors, I fell from height (in full Victorian costume and two radio mics) and broke my jaw! I was rushed to hospital in an ambulance, covered in blood and still in costume, where I was stitched up and sent home with strict instructions to not chew and to stick to a liquid diet for three months!

Surgery was not possible, because where my jaw had broken was very close to a nerve centre and the risk of facial paralysis was too high. The first few preview performances were cancelled, and the brilliant Zippi Okrah, who was playing Jacob Marley, stepped into my costume (after a few alterations) and took up the role while I recovered.

11 days later, thanks to daily cranial osteopathy, rest, positive thinking, painkillers, and a remarkably supportive cast and crew, I finally stepped out to play the role of Ebenezer Scrooge.

I could have gone home with my contract paid in full and maybe even claimed compensation through my union Equity, but I decided I would rather be remembered as the person who got back up (thanks to much love and support) and was not denied his dream.

I’m proud of that decision, and I loved playing the role for the remainder of the run. As for the character, it was so profound to imagine what it would be like to watch one’s younger self from afar, and future self too. It’s actually a gift for Scrooge as it would be for any of us. Just imagine…

As a screen actor, you have had guest roles in Call the Midwife (Ian Myner), The Larkins (Wilf) and Sliced (Tony) in recent years; what were your episodes like to film?

Television is such a different experience to theatre. It’s always a mini adventure to parachute into a television production in a guest role. Sometimes it can feel like moving school! Everyone knows each other but you are the new kid on the block, and just as perhaps you start to build working relationships, your scenes are complete and you leave in a puff of smoke!

How did you find the experience playing regular character Cranbourne in Hetty Feather for CBBC across the first three series and do you have any favourite highlights from your time filming the show that you can share?

One of my favourite television jobs. It was a very happy ship and was a joy to have writers developing your character with your input. It was brilliant to be able to suggest storylines and decisions made by my character. Obviously they didn’t all make it into scripts but when they did it was hugely satisfying. The whole experience was a joy and watching children in the cast mature and evolve as actors over the years was a privilege. It was facilitated by our producer David Collier, who taught me what inspiring leadership on a set and production as a whole looks like.

My costumes were glorious too, I still miss the waistcoats!

What are some of your stand-out memories from playing Darren across every episode of the 1990s sitcom Is It Legal?

This was a seminal role for me.

I learned so much about myself and gained so much confidence from being the youngest member of the lead cast of such brilliant and experienced actors. It was my first experience of a regular role on television, and again it was such a thrill to have a writer (the brilliant Simon Nye) evolve the character with you in their mind’s eye. It means you get to play to your strengths, and as Simon told me at the time, it made it so much easier for him too when he could see us in his mind’s eye.

Stand-out memories? There are so, so many! Too many list.

I will say though that a stand-out overall memory is how utterly fun it was at ALL times. Imelda Staunton made me laugh uncontrollably many, many times, in fact all the main cast were brilliantly funny and kind too.

Performing for multi cameras whilst in front of a 400-strong live audience is so bloody thrilling. That’s another overall stand-out memory. I’m so proud of that programme. In fact, going back to the award business, Is It Legal? won Best Sitcom at the Comedy Awards. The other five cast members got to go on stage on live TV in front of a rather drunk studio audience made up of British comedy stalwarts. I, however, had booked a few days in New York so couldn’t make it! I was so disappointed at the time, but the producer, director, cast etc all said: “Don’t worry – there will be more”……. and I believed them!

Although we did three whole series, it deserved more. That wasn’t just my opinion at the time, but television channel politics got in the way – that’s all I can say on the matter!

My two sons discovered it a couple of years ago and have watched it repeatedly, so it’s stood the test of time it seems. In fact, for several years during and after filming, I had so many production crew on other jobs tell me how much they loved the programme. I can’t help but wish it had continued for another few years, because of how much it was loved I suppose…

Towards the start of your acting career, you filmed for the Mr. Bean episodes – Mr. Bean in Room 426, Mind the Baby, Mr. Bean and Hair by Mr. Bean of London, what do you remember most from playing various characters in the much-loved sitcom starring Rowan Atkinson?

I remember how serious and professional and hilarious Rowan Atkinson was!

Where does your love of acting come from and how did you originally get into it?

Dressing up as a child, and making up and acting out stories. I think it was a form of escapism too perhaps, and my ADHD has probably played a part.

Do you have any favourite films, TV and theatre shows to watch?

Some musical theatre I absolutely love. I’m a big fan of Sondheim. I love going to the theatre and have seen so many wonderful plays and performances.

How do you like to spend your free time?

Very long walks in the country, ending with a good old-fashioned pub. Watching Arsenal. Playing golf. Travelling adventures. Cold-water swimming. Spending quality time with my partner Matilda, who’s a theatre producer, my two sons Alfie and Arthur, and with other family and friends. Cooking, pubs….. did I mention I like a pub? I love to sing in open mics, which are usually in pubs!

Oh and last but not least, political activism on behalf of the Green Party.

What are you hoping 2026 brings for you and do you have any projects coming up that you can talk about?

Most importantly, I’m hoping that our society becomes kinder and more tolerant. I’m also hoping to continue to meet and collaborate with talented and hardworking theatre makers and storytellers.

I’m also hoping my beloved Arsenal lift the title this year, along with the Champions League too!

I’m currently filming an episode of Strike for the BBC, playing a Detective Inspector. It will be my ninth television police officer! I never even auditioned for police officers until I hit 35, it then seemed they were almost the only roles I could get on television. My dad was in the Met, so I like to think I’m good at channelling the copper vibe!

Thank you TresA Magazine for your questions. It was good to be reminded of how fortunate I have been and indeed still am.

Love and peace and up the Arsenal!