As a very successful voiceover artist, Lizzie Waterworth currently stars in CBeebies’s Alphablocks, where she’s worked across all six series so far, voicing A, B, F, G, H, O, P and W, and she voiced Bolly and Miff in Mush-Mush & the Mushables and Tooth Fairy Mignonette and the teacher in Isadora Moon. In the hugely-popular animated series Horrid Henry, Lizzie voices Horrid Henry, which saw her be nominated for Best Performer at the BAFTA British Academy Children’s Awards in 2019, and she played Nitty Nora in the live-action film Horrid Henry: The Movie (which starred Theo Stevenson as Horrid Henry). For the 2018 stop-motion animated feature film Strike, Lizzie voiced the lead character Mungo, and she voiced Bello in both series of Jelly Jamm and Cutie the Elephant in the video game It Takes Two. Amongst Lizzie’s animated series, she has voiced Lofty in Bob the Builder, Uniqua in the UK dub of The Backyardigans, A.J. in Angelina Ballerina: The Next Steps, and she starred as Franklin in the UK dub of Franklin and Clifford in Clifford’s Puppy Days. Further work for Lizzie has seen her voice characters in films such as Wallace & Gromit: Vengeance Most Fowl, record The Sandman for Audible and narrate numerous audiobooks. After holding online workshops with schools during the COVID pandemic, Lizzie had an idea for her first book and released How to Talk So People Will Listen, which is published through DK Penguin Random House, and she often attends book signings, events and Comic Cons. We caught up with Lizzie about voicing A, B, F, G, H, O, P and W in Alphablocks for CBeebies, recording as Horrid Henry in the hugely-popular animated series Horrid Henry, starring as Franklin in the UK dub of Franklin and releasing her first book How to Talk So People Will Listen.
You currently star in Alphablocks for CBeebies; how has it been working on the show across all six series so far?
I love being part of the Alphablocks cast alongside Teresa Gallagher, David Holt and Inel Tomlinson. The show began in 2010, and it still feels like such a unique and special project to be part of – and I voice eight letters: A, B, F, G, H, O, P and W. My favourite is O, because he doesn’t actually speak – he just says “O O” – but he still contributes to the show, which I love!
What makes it extra special is when parents tell me how much Alphablocks has helped their kids learn words and how the show has genuinely helped their kids learn to read. I feel very honoured to have been part of something so long-running and successful.
Can you tell us about your experience recording for Mush-Mush and the Mushables and Isadora Moon?
Mush-Mush was such a fun one to record – I voiced Bolly, who has this incredibly quick, high-energy voice, and also Miff. It’s a beautifully animated show from a really inventive, talented team.
Isadora Moon is very popular. I voice a Tooth Fairy called Mignonette, who has a northern voice and is like a little pixie who gets into all kinds of scrapes. I also voice the teacher, who’s sort of permanently on the edge of needing a very long holiday! The cast on that show are brilliant – Raz Hardiker voices Count Bartholomew. He is just so talented – and it was a real joy to be part of this show.
How was it getting into character as Henry in the hugely-popular animated series Horrid Henry, and what was he like to voice?
I still remember getting the call asking if I’d audition for a new show called Horrid Henry. I wasn’t familiar with the books at all, so I went out, bought one, sat down and read it – and just started writing down words I associated with Henry: fun, cheeky, cool, mischievous. That process really helped me start building the voice.
He couldn’t have a high voice – he needed to sound a little raspy, with a bit of edge to him. I went in, felt immediately comfortable with the script, and the team liked what I did. Two auditions later, I got the call to say I’d got the part, and I just knew this show was going to be something special. 20 years on, I can honestly say voicing Henry has been one of the greatest privileges of my career. He’s the GOAT.
What did a typical day in the studio look like when recording as Henry, and did you have any favourite or most challenging episodes to record?
The whole cast comes in together – myself, Sue Elliott-Nichols, Tamsin Heatley, Wayne Forrester and Aidan Cook – and we do a read-through of the script first, talking through anything we need to cover before we go in and record. We’ll work through a few scenes at a time, get notes from the director, maybe tweak a word here or there, and usually record four or five episodes across the day.
The freedom to play with the script a little is something I really love. The most challenging episodes are the ones where Henry does a lot of his trademark shouting – it can genuinely tire your voice out – so the team are good about making sure we don’t stack too many heavy episodes together.
My favourite episodes are the ones about ordinary, everyday family life – arguing over the TV remote, not wanting to eat his vegetables. That real-life stuff is just so funny and so recognisable, and I love sparring with Moody Margaret voiced by legend Sue Elliott-Nichols.
How is it seeing the fan response to Horrid Henry, and how did you feel being nominated for Best Performer at the BAFTA British Academy Children’s Awards in 2019?
The fan response is honestly unreal – everybody seems to know Horrid Henry. You’ve got grandparents who read the books to grandchildren, parents who grew up with the stories themselves, and children who’ve watched the TV show. It’s this multi-generational thing that’s just wonderful to be part of. I genuinely feel like Henry is a bit of a national treasure!
As for the BAFTA nomination – it was a complete surprise. Best Performer is usually recognised actors you’d see on screen, so to be recognised as a voice actor in that category was really, really special. I still have my nomination certificate hanging up.
What are some of your stand-out highlights from being involved with Horrid Henry over the years, and how was it filming as Nitty Nora for the live-action feature film (which starred Theo Stevenson as Henry)?
There are so many – but if I’m honest, the biggest highlight is the people. Every single day felt like going to a fun party with your friends who are all brilliant at their jobs. The relationships built around that show, the laughter – we’ve genuinely become like a little family.
We’ve done Q&As at the British Film Institute, BAFTA talks, and all kinds of events that have opened up so many doors.
As for the live-action film – I obviously couldn’t play Henry on screen, but they asked me to work with Theo Stevenson to help him nail Henry’s intonation and noises, which was brilliant fun. And then they asked if I’d like a little cameo, which of course I said yes to immediately!
The highlight of that day was meeting Richard E. Grant, who I adore. My first introduction to him was me standing there in full Nitty Nora knit nurse outfit going, “Hi!” – I can only imagine what he thought. We later got to work together again on The Mowgli Stories for Audible, which was a real full-circle moment.
What was it like recording for the 2018 stop-motion animated feature film Strike as lead character Mungo, and how was it telling Mungo’s story?
I loved voicing Mungo – that film was made with so much passion. Stop-motion is such an extraordinary art form; every 60 seconds you see on screen takes an incredible amount of time to create, and you can feel that love in the final film.
The story has a really positive, hopeful message – something sad happens to Mungo, but he doesn’t let it define him or stop him pursuing what he loves, and I found that genuinely moving. The cast were incredible too – Beth Chalmers is brilliant as the villain, and Ken Stott is just phenomenal. We had a great premiere down near Brighton where I got to meet so many of the people who brought it to life. It really was a special project.
You voiced Bello across both series of Jelly Jamm and also worked on the Inazuma Eleven franchise; what were both projects like to do?
Jelly Jamm was a really inventive, joyful show with a great cast to work with. Games projects are a different experience altogether – they can be tiring on the voice, but the gaming community is so passionate and engaged. They really invest in the characters and love finding out who voices them.
The game I get asked about most – probably second only to Horrid Henry in terms of fan questions – is It Takes Two, where I voice Cutie the Elephant. I won’t spoil it for anyone who hasn’t played it, but that character developed a real cult following online, which is extraordinary given how briefly she appears. It’s one of those things that reminds you that a great character moment can really land with people. She comes up constantly at Comic Cons – it never gets old!
In Bob the Builder, you have been the voice of Lofty – what is it like taking on the role of an already-famous character who has previously been voiced by different actors, and what did you enjoy most about playing Lofty?
Bob the Builder was a completely different recording process. Rather than being in a studio with the full cast, I was dubbing from the UK voice to American, watching the screen and matching the timing of the lines exactly. Dubbing is quite an intense, technical experience!
Lofty was voiced by different actors at different points, which is just part of how the industry works – companies sometimes want to bring a new dimension or colour to a character, and you respect that. Lofty had this really cute, high voice that was great fun to play, and I’m just glad I got to be part of such an iconic show.
How was it recording the UK dub for Uniqua in The Backyardigans and voicing A.J. in Angelina Ballerina: The Next Steps, and how different did you find both characters?
The Backyardigans is genuinely one of my favourite ever shows to have been part of – every single episode has these incredible songs, each one a completely different theme and musical style. Getting to play two characters in it was just fantastic, and I know it was huge in America. I really wish they’d bring it back!
Angelina Ballerina was a real honour – I grew up watching the original version with the incredible Dame Judi Dench, so to be part of a CGI remake felt very special. A.J. is a fun character. Very different energy to anything in The Backyardigans, but that variety is exactly what I love about this job.
Do you have any favourite memories from starring as Franklin in the UK dub of Franklin that you can share?
Franklin holds such a special place for me. We recorded so many episodes – I think around 80 – and on the last day, the sound engineer and I actually cried. I know that might sound a bit dramatic, but when you’ve spent that much time with a character, you really do know them inside out.
It’s real acting, not just voicing – you get genuinely attached. When it ended, it really did feel like losing a friend. That’s probably my most treasured memory from any dubbing project – that very last episode, and realising how much that show had meant to me.
As a massively successful voiceover artist with an extensive career, you have worked on many other projects including Clifford’s Puppy Days (as the British voice of Clifford), Marcus Level, Tinpo, The Woodlies and Four Eyes! – can you say about some of your further characters and highlights of your career so far?
One of the things I’m most proud of is having been part of shows with real longevity. A lot of cartoons don’t make it past a first series, and I’ve been extraordinarily lucky to be in shows that have run for 15 or 20 years.
Beyond animation, my work has taken me in some really exciting directions – I’ve been in The Sandman for Audible, narrated books for people I hugely admire, and voiced characters in films including Wallace & Gromit: Vengeance Most Foul.
But more than any individual project, the thing I treasure most is the community. The animation industry is full of genuinely kind, creative and brilliant people – it really does feel like a family. One of my favourite quotes growing up was from Dead Poets Society – “Carpe Diem” – and Robin Williams, who I consider the absolute GOAT of voice acting, really embodied that for me. That spirit of just going for every opportunity has shaped everything.
What is it like seeing new animations with your voice for the first time, and is there anything you find most rewarding about being in the voiceover industry?
It never gets old! Usually, you record long before the animation is finished, so you know the story and the script, but you don’t actually see it until the very end. There’s always that moment of, “Oh, so that’s why we did that noise” or, “That’s how they brought that scene to life” – it’s genuinely exciting every time.
I still vividly remember the first time I saw my name appear in the end credits of my very first show. It’s on TV every day now, but that first time? That was something really special.
How did you get into voice acting and was it always something you wanted to do professionally?
I grew up naturally being able to do impressions and accents – it was just something I could always do – but I never really thought of it as a career. I went to King’s College London and read English, and it was actually at a barbecue during my time there that everything changed.
I happened to meet the voice of Thomas the Tank Engine, and he overheard me messing around doing kids’ voices. He came over and said, “I think you’ve got what it takes”. He was incredibly generous and helped me get my very first audition – a show called Four Eyes!.
I walked into that recording studio not knowing how close to stand to the microphone, not knowing anything. But I was handed a script, put on the headphones, and it just felt completely natural. I got two lead roles in that first audition I ever did, and I was off. I learned so much from that job – working alongside some of the best in the business and just soaking everything up like a sponge.
What advice would you give someone starting out in voiceover and hoping for a career like yours?
Take the time to really understand your own voice – that’s the most important thing. A lot of people say to me, “Oh, I can do funny voices”, but voice acting is so much more than that. It’s acting. You have to bring a character to life, not just make a funny noise.
So sit down, go on voice agents’ websites, listen to showreels, and ask yourself: what do I bring that’s genuinely different? For me, it’s kids’ voices. Work out your niche, own it, and then build your showreel around what you can genuinely nail. Keep it short – maybe 10 tracks of a few seconds each – because casting directors will know within moments whether they’re interested.
Then send it to voice agents and be persistent. It is an incredibly competitive industry – you’re up against celebrities and well-known actors now – but if someone hears your reel and thinks, “I don’t have anyone like that”, that’s your way in.
And when you don’t get a job you auditioned for? Don’t take it personally. It took me a while to learn that, but sometimes it just means someone else’s voice was a better fit for that role. It’s not a reflection on you.
What are some of your favourite films and TV shows to watch?
Dead Poets Society is up there – “Carpe Diem” really stuck with me growing up, and it still does. And so many Robin Williams films: Mrs Doubtfire was actually the film that made me think voice acting could be a real career – I was about 13, watching the opening scene where he’s doing characters in a recording studio, and I thought, “Wait, that’s an actual job?”. So he had a huge influence on me.
Beyond Robin Williams, I love all kinds of films. I love Good Will Hunting, The Talented Mr. Ripley, the Before Sunset trilogy, even Hannibal Lecter films – I have a pretty wide range! And The Sound of Music. I think watching across lots of different genres keeps you creative.
For TV, I genuinely think Bluey is one of the best children’s shows ever made – the perfect mix of humour, emotion and heart. If I could have a cameo in any show I haven’t been in, it would be Bluey. I’ve actually been meaning to ask my agent to reach out – I’ll take anything, I’ll be a blade of grass, I just want in!
As an author, you wrote and released your first book How to Talk So People Will Listen; can you tell us about the book and what was it like to write?
The idea came during COVID, when I was doing lots of online workshops with schools and trying to make kids smile during a really tough time. The word “confidence” kept coming up again and again – children saying they didn’t feel confident speaking – and I went looking for a book on the subject to recommend, but I couldn’t find one. So I decided to write it.
I rang a book agent, explained my idea, and DK Penguin Random House loved it. What’s made it so meaningful is the feedback from children and parents since – kids coming up at signings saying the breathing technique worked, or that the rap in the book helped them get through a class presentation.
Hearing that over and over, at school after school, has honestly been one of the biggest highlights of my entire career. I’m now working on ways to get that content to even more young people, because that’s where my real passion lies.
How is it holding book signings, attending events and Comic Cons, and meeting fans of your work?
It’s just the best. Comic Con is a really special experience – the people there have such genuine love for these shows. They’ve grown up with these characters – they’re part of their childhoods – and for me to be a small part of that for them is a privilege I never take for granted.
Book signings feel different again – there’s something really meaningful about signing something you’ve created yourself, something that came entirely from you. And Q&As, BAFTA talks, events – I genuinely love all of it.
I have a real fascination with people, and I think there’s something quite beautiful about the fact that, even though we’re all so different, we share so many of the same fears – including the fear of speaking up. If my skills and experience can help with that in any small way, then I’m very happy.
How do you like to spend your free time?
One of my absolute favourite things is going to the Prince Charles Cinema in Leicester Square – it’s my favourite place in London. They show the most brilliant mix of old and new films, and if I’ve got a couple of free hours, that’s where I want to be.
I also love seeing films at the Royal Albert Hall with a live orchestra. I’ve watched Titanic, Jurassic Park, Back to the Future and Home Alone that way. It’s just such a special experience.
Beyond cinema, I love snowboarding, travelling whenever I can, and music. I have the strangest mix of tastes, from new music to classical. I find composers like Max Richter really relaxing when I’m working through scripts or writing.
I was actually lucky enough to meet James Horner – who did the music for Titanic and Braveheart – at the Albert Hall just a few weeks before he sadly died. That was a really special moment.
I’m also a Swiftie. I think I know every word of The Tortured Poets Department by heart.
What are you hoping this year brings for you, and do you have any projects coming up that you can talk about?
I’m voicing lots of fun characters in a brand new cartoon coming out in a few months. There is also one voicing project I cannot say anything about yet – but I will say it’s very exciting, and I think when it’s announced later this year, it’s going to get a big reaction. Keep an eye on my Instagram.
Beyond that, my big focus this year is finding more ways to reach more young people with my workshops and communication content. I want to be in more schools, help more children feel equipped and confident when speaking out loud, and really grow that side of what I do.
More voice work, more travel, and more of the stuff that genuinely lights me up – that’s the plan.
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