Gracie McGonigal played Hazel across multiple episodes of the new series of Bridgerton, working with a cast including Yerin Ha, Luke Thompson, Claudia Jessie, Oli Higginson, Sophie Lamont and Geraldine Alexander, and she also appeared as guest character Lady Martha Silk in Father Brown, with both having a release earlier this year. On stage, Gracie is currently performing in the new London revival of Stephen Sondheim’s musical Into the Woods at Bridge Theatre playing Little Red Ridinghood with Jamie Parker as The Baker and Kate Fleetwood as The Witch, and the show is running until Saturday 30th May and is directed by Jordan Fein. Previously, Gracie was called in as cover Alexandra Giddens in The Little Foxes at the Young Vic, originated the role of Lily in the London production of Fangirls in 2024, and she played Katie in the world premiere of The Little Big Things at @sohoplace in London’s West End, with the Henry Fraser story being nominated for three awards including Best New Musical at the 2024 Olivier Awards. In the Arthur Miller play The Crucible at the National Theatre in 2022, Gracie played Susanna Walcott and cover Abigail Williams, and she made her West End debut with the show the following year at the Gielgud Theatre, and she has performed in pantomimes, most recently as Cinderella at Theatre Royal Stratford East. Answering our questions, Gracie talked to us about playing Hazel in Bridgerton for Netflix, her current role of Little Red Ridinghood in Into the Woods at Bridge Theatre and her time as Katie in the world premiere of The Little Big Things.
In the new series of Bridgerton, which has recently premiered on Netflix, you have joined the cast as new character Hazel; how much did you know about Bridgerton before auditioning, and how did you feel booking the role?
I have been a fan of Bridgerton since it first aired on Netflix in 2020. It has been a bucket list project that I have been working towards for a number of years, so it feels incredibly full circle to announce that I am on the show this season.
When I got the call to find out that I had booked the role, it was a truly life-changing moment. My agent knew I was going to be over the moon and made sure I was surrounded by loved ones when I got the news. I was working on a musical at the Lyric Hammersmith at the time, and auditioning for lots of jobs for after the run ended with no luck. The role came just when I felt I was at the end of what I could take with the rejection from theatre jobs.
Sometimes it is hard not to take it personally when you audition for lots of roles and it does not go your way. When I got the call, it brought me so much relief and hope for the future. Getting the job genuinely revived my hope in acting.
How would you describe Hazel and how was it reading the scripts for the first time?
Hazel is strong-willed, whimsical, feisty and fearless. She also has a witchy, spiritual side, which was incredibly fun to play. Hazel is the type of girl who wears her heart on her sleeve, which was a fun contrast with the character of Sophie, her best friend, who has to keep so much secrecy throughout the show this season.
When I auditioned for the show, I did not realise I would have so much to do, so it was a really happy surprise when I read the scripts for the first time and saw where the story was heading. As I have had a lot to do this season, I was invited to the table reads for the season. For anyone who does not know, this is where the actors get together with the producers to read the scripts around a table ahead of filming. It was amazing to hear the scripts read in that format. It felt really special to hear the story lifted off the page by the incredible actors who have made this show so special for the last few seasons.
How did you find the experience on set of Bridgerton and filming with the rest of the cast?
I was a bit nervous to join the cast as it is such a well-oiled machine. I knew that with it being the fourth season, many of the actors would already have strong bonds and connections, so I definitely felt like the new kid at school. I really had nothing to worry about. The cast took me under their wing and I completely fell in love with them all.
My first day on set was such a dream. The first scene I shot was in episode four, where we are laughing and joking downstairs in Bridgerton House. The gang put me at ease so quickly that we were laughing and joking in real life too.
What was it like taking on the role of Lady Martha Silk in this year’s series of Father Brown, and what did you enjoy most about having a guest role on the show?
After working on Bridgerton for a few months, I had completely fallen in love with television, especially period pieces. I love watching period dramas, and getting the opportunity to make them brought me so much joy.
I had been speaking to Geraldine Alexander and Claudia Jessie at length about wanting to do Father Brown, as it had been highly recommended by both of them. Both had guest-starred on Father Brown in previous seasons and were recommending it to me while we were on set filming Bridgerton.
I love the comedy-crime tone of the show, and the role seemed so much fun when it came across my desk. Working with director legend Ian Barber and learning from the wonderful Mark Williams is something I would wish for any young actor starting out in television.
You are currently performing in Into the Woods at the Bridge Theatre as Little Red Ridinghood; how is the run going so far, and what are you looking forward to as it continues until Saturday 30th May?
The run is going really well, and I am having a lovely time on the project. Into the Woods is such an incredible show, and it is unique for me as it is my first time acting in a revival of a pre-existing musical rather than working on new writing. Getting to put my mark on a role like Red Ridinghood is so special. Looking at the other incredible women who have played this role really pushes me to want to do them all proud.
It has been so flattering to feature so heavily in the posters and marketing for the show. Growing up, I always thought being on an underground poster was a huge achievement, and it definitely gives me a little spring in my step whenever I see one on my commute to work.
It may sound nerdy, but one of the things I am most looking forward to before the end of the run is continuing to explore the character and find new ways to understand her, letting that inform the choices I make on stage. It would be really nice to get to the end of the run feeling like there is no stone left unturned. More than ever before, I am getting to play a character quite different from myself, so I am definitely still enjoying what it feels like to wear her shoes.
What is it like being part of a new London revival of a hugely popular Stephen Sondheim musical, and how is it being directed by Jordan Fein?
There is a lot of pressure when reviving a show that is so well loved. These characters have been revived many times, so it is important to handle them with care, as many audience members have histories with the show and favourite performances that predate my relationship with the piece.
It can feel intimidating to make bold choices, as it is hard to look at the project with fresh eyes without associating it with its iconic past iterations. Luckily, the incredibly well-written work of legendary Stephen Sondheim and James Lapine is so rich that it withstands constant interrogation by actors. I am always noticing new things to love about the show, and it constantly amazes me how harmoniously the music and text blend together.
Jordan Fein’s vision for this piece is incredibly unique but simultaneously crystal clear – even as far back as when I was auditioning. Jordan knew exactly what he wanted from each character, and the grumpy, bold, and bolshy Red Ridinghood I play nightly would not exist without his vision.
What is Little Red Ridinghood like to play, and how did you prepare for opening in the musical?
I worked with director Jordan Fein at length to create this very specific version of the character. I came in with the reference of Alyssa from the TV show The End of the F***ing World, and he was very clear on a Wednesday Addams-type iteration. I feel these two characters share many key characteristics.
Creating this strange, dry-humoured teenage girl has been such fun and definitely a labour of love. I feel like I get to live and breathe her nightly. With a Sondheim show – specifically Into the Woods – one of the main things I had to prepare for was accuracy with the music. Everything written on the page was intentional, so it is thrilling to treat the text as I would a classic Shakespeare, treating nothing as unimportant.
Can you tell us about your time in the cast of The Little Foxes at the Young Vic as cover Alexandra Giddens?
My very brief yet wonderful time on the project was so much fun and remains one of my favourite career highlights. Due to an unprecedented illness, I was asked to step in for a couple of nights in the Young Vic’s production of The Little Foxes, or the show would have faced cancellation.
I had worked with the amazing director Lyndsey Turner on The Crucible previously, so I felt very flattered that she would call on me to help save the show. I had no experience with the play when I got the call, so I had about 12 hours to become familiar with the play and be ready to perform it to a paying audience.
I learned as much as I could and read what I could not memorise off my iPad. It might have been the most stressful days of work I have ever had, but it was very rewarding. To act boldly and make choices on instinct felt really exciting, and the character was also unbelievably fun to play. I feel genuinely lucky that the team at the Young Vic called me, as I learnt so much from the experience.
How was it originating the role of Lily in the London production of Fangirls at Lyric Hammersmith in 2024?
I loved Fangirls. What a joyous premise for a musical. My role was to play a hugely intense fangirl called Lily, who would go to extreme lengths to prove her love for her favourite boy band member. It was so much fun to play a character who is dramatically passionate, yet empathetic and loving.
We had amazing video design by Ash J Woodward, who through live camera work projected my face across the theatre throughout the show. It was amazing to work with the tech in this way and heighten this already hugely passionate fangirl. It was also great to see the show grow from the workshop I took part in back in early 2022 to the final production at the gorgeous Lyric Hammersmith theatre two years later.
You played Katie in the world premiere of The Little Big Things at @sohoplace in the West End, what drew you to the production, and how was it telling Henry Fraser’s story?
The Little Big Things was my first West End musical, and I had the best time with the most spectacular company. I still have people tell me weekly how much the show meant to them. The show had disability at its heart, and it really inspired me to want to be involved in more disabled-led projects.
I had heard that someone was making a disabled-led musical about the amazing Henry Fraser, whose career I had been following, so I knew I had to be a part of it. I could not attend auditions due to scheduling conflicts, so I sent an unasked-for self-tape to casting director extraordinaire Jill Green, hoping someone might watch it. Luckily, someone did, and I got the call offering me the job shortly afterwards. I still feel so lucky to have been part of such a beautiful musical.
How was it seeing the fan response to The Little Big Things and attending the 2024 Olivier Awards, where the show was nominated for three awards, including Best New Musical?
One thing that really stands out is the fan response. People adored the show and found it life-affirming. I have never experienced a fan community as dedicated as that one, much of which was disabled themselves, seeing themselves reflected in a West End musical.
Growing up, there was not much disabled representation in theatre, so it is nice to feel I am part of the community I would have loved to see as a child. Performing at the 2024 Olivier Awards was such a dream. Singing in the iconic Royal Albert Hall and representing a show doing so much for inclusivity, I could not have been prouder to champion The Little Big Things.
What was it like working on the Arthur Miller play The Crucible at the National Theatre as Susanna Walcott and cover Abigail Williams in 2022, and making your West End debut with the show at the Gielgud Theatre the following year?
I love the play. The Crucible is incredibly well written, so it was a joy to dive into the text professionally. When my agent called to say they had asked me to cover Abigail, I was shocked. I had not auditioned for the role and knew it was a huge opportunity.
I was 19 when I got the job and genuinely could not believe the National Theatre would let me play such an iconic role. I ended up performing the last week of the run as Abigail and closing the show in the role. It was an immediate yes when asked to reprise my role in the West End the following year.
Sometimes it is hard to break into West End jobs, as auditions often require previous West End experience, so I was lucky the show transferred and I was taken with it.
Having also performed in pantomimes, most recently as Cinderella at Theatre Royal Stratford East, how different do you find these shows to standard theatre productions?
I love pantomime. It was my first ever theatre job at the Lyric Hammersmith, and my first leading role as Cinderella in Stratford East. I genuinely believe if you have the strength to do a panto contract, you can do anything.
Performing 12 or more shows a week is no joke, and delivering a full-scale musical at 10 in the morning is one of the most exhausting yet rewarding experiences I have had. I love the special rules in panto and the historical traditions dating back hundreds of years.
Pantomime is an excellent tradition, bringing UK theatres the most annual income, so it is something I want to support and protect. On a personal level, knowing pantomime is many children’s introduction to theatre is really special. I am touched to think I could be involved in a young person’s journey in discovering performing.
How did you get into acting, and was it always something you wanted to do professionally?
I started acting when my dad put me in a local Saturday acting class at about six years old to help with my confidence. Being a disabled child, my parents were not sure I would develop confidence naturally, so they thought drama could help. Little did they know that I would find so much joy in acting, and going to my Saturday drama class quickly became the highlight of my week.
What are some of your favourite films, TV and theatre shows to watch?
This is such a hard and broad question. Of course, Bridgerton. Autumn de Wilde’s Emma – I have watched that countless times. And for theatre, this is impossible, so I will have to plug Into the Woods again. Any Sondheim is good in any form, be it the Sweeney Todd film or the incredible production of Company at the Gielgud.
I watch many plays via the National Theatre’s streaming service NT at Home, which I would definitely recommend.
How do you like to spend your free time?
Reading, going to art galleries, and of course going to the theatre when I am not performing. I am trying to get back into hobbies that do not involve my phone. I love painting, so I hope to do more of that this year.
Have you received any advice over your career so far that has stuck with you?
Kate Fleetwood, the marvellous actress I am fortunate to work with at the moment, gave me this piece of advice when rehearsing Into the Woods: “No one cares”.
This is applicable when you feel you have had a rubbish show, received a bad review, or think people are judging you. Everyone is so focused on their own stuff that if you feel people are giving you bad energy, they probably are not.
It is the same idea as “today’s news is tomorrow’s fish and chip paper,” but I have always loved the way she said it.
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