Recently, Alex Hayden finished his run as Ensemble on the 2024/25 UK & International Tour of The Book of Mormon, which marked his professional theatre debut, and he worked alongside a cast including Adam Bailey (Elder Price) and Sam Glen (Elder Cunningham), with the final dates in December last year. For his training, Alex attended ArtsEd and graduated in 2024, and whilst a student, he played Oscar Lindquist in Sweet Charity, Ensemble and cover Angel in RENT, and he performed with ArtsEd at the Pippin – 50th Anniversary Concert and at the 2024 Olivier Awards. Catching up with Alex, he answered our questions about making his professional theatre debut in the 2024/25 UK & International Tour of The Book of Mormon, what it was like being in the Ensemble of the musical and training at ArtsEd.
You have recently finished touring as Ensemble in The Book of Mormon, how was it finding out you’d booked the musical and what was it like having the show as your professional debut?
Finding out I’d booked The Book of Mormon was surreal – it didn’t quite sink in at first. It had been such a long audition process, so when the call came through, it felt like everything I’d worked towards suddenly became real. Having it as my professional debut was incredibly special. It’s such a high-energy, iconic show, and to start my career with something of that scale and reputation felt like being thrown in at the deep end in the best possible way!
How did you find the experience heading out on your first tour, and what do you feel you learnt from touring with a musical for the first time?
Touring for the first time was a huge learning curve. Adjusting to new theatres, different audiences, and constantly being on the move taught me a lot about adaptability and resilience. I learnt how important it is to look after yourself, both physically and mentally, while also maintaining consistency in performance. It also made me grow up quite quickly in terms of professionalism.
Had you seen The Book of Mormon before auditioning for the 2024/25 UK & International Tour and was there anything that drew you to the production?
No, I actually hadn’t seen it before auditioning, I just was a massive fan of the cast recording. I was also really aware that it was written by the creators of South Park – Trey Parker and Matt Stone – so I knew it would have that bold, unapologetic comedy. That definitely drew me in, because it’s quite different from a lot of traditional musical theatre.
What did you enjoy most about being part of the Ensemble and working with the rest of the cast?
Being part of the Ensemble was incredibly rewarding. There’s such a strong sense of teamwork, as you’re constantly supporting each other and creating the world of the show together. I loved the versatility of it such as dancing, singing, acting, and often switching characters quickly. It keeps you completely engaged!
Do you have any stand-out highlights from performing with The Book of Mormon that you can share?
Definitely the song Turn It Off. That number was just electric every single night. From the second it starts, you can feel the audience shift, and then it just builds and builds into this huge, high-energy tap number, and the response is always incredible. What I love most about it is the precision and teamwork it requires. It’s such a tight, rhythm-driven piece, so everyone has to be completely locked in – not just technically, but in terms of energy and storytelling too. When it all clicks, it feels amazing on stage.
What encouraged you to train at ArtsEd and how was your time as a student before graduating in 2024?
ArtsEd has a reputation for strong, well-rounded training, and that’s exactly what I was looking for. My time there was intense but incredibly valuable. It really pushed me to develop discipline and confidence, and I left feeling prepared to step into the industry.
Whilst training, you played Oscar Lindquist in Sweet Charity and were in the Ensemble (and cover Angel) in RENT, can you tell us about these shows?
Playing Oscar in Sweet Charity was a great acting challenge. It’s such a nuanced role, and it taught me a lot about character development. RENT was completely different; being in the Ensemble, covering and having a captain role meant I had to be ready for anything. It was an amazing experience working on such an iconic and emotionally driven show.
What was it like performing with ArtsEd at the Pippin – 50th Anniversary Concert and the 2024 Olivier Awards?
Both were incredible experiences. The Olivier Awards felt very surreal – you’re surrounded by so many people you admire in the industry. Pippin was special in a different way, celebrating such an iconic show with such a talented group of performers. Both experiences were unforgettable!
How did you get into acting and was it always something you wanted to do professionally?
I’ve always been drawn to performing since I was six years of age at my local dance school. It started as something I loved doing for fun, and over time it became something I couldn’t imagine not pursuing. There was definitely a point where I realised I wanted to do it professionally, and everything kind of aligned from there.
What are some of your favourite theatre shows to watch, and are there any you’d particularly like to see that you haven’t done so as yet?
I really would love to try and catch Into the Woods at the Bridge Theatre before it goes! I love shows that are high energy with great music. There are still so many I’d love to see, especially new work and revivals of classics I haven’t experienced live yet.
Have you received any advice over your time in the theatre industry so far that has stuck with you?
The biggest piece of advice I’ve held onto is to stay patient and trust your own path. Everyone’s journey in this industry is different, and comparison doesn’t help. Also, being kind and professional goes a long way.
What do you find most enjoyable about working as a performer, and how do you typically prepare for new auditions?
I love the connection with the audience and with the cast – there’s nothing quite like that shared energy. For auditions, I try to stay as prepared as possible while still allowing room to be spontaneous. It’s about finding a balance between technique and authenticity.
How do you like to spend your free time?
I like to keep things quite balanced – spending time with friends and family, staying active, and finding ways to switch off. Touring, especially, made me appreciate the importance of downtime.
What are you hoping 2026 brings for you?
This industry is very hard – I’m hoping to continue building on what I’ve started by taking on new challenges, growing as a performer, and hopefully working on a range of exciting projects. I’m really open to wherever the industry takes me next.
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