For Mark Evans’s most recent production, he played Billy Graham in the Broadway transfer of Tammy Faye at the Palace Theatre – the biographical show about Tammy Faye Messner, and he previously played Robert Kincaid in The Bridges of Madison County at Signature Theatre in Virginia. Mark took over the role of Cal for the off-Broadway transfer of Titanique, and he originated the role of Stuart Dunmeyer in the world premiere of Mrs. Doubtfire in Seattle and reprised his role when theatres could reopen after the COVID pandemic for the Broadway production. At Broadway’s Brooks Atkinson Theatre, Mark played Dr. Pomatter opposite Alison Luff as Jenna Hunterson in Waitress the Musical, and he was in the cast of The Play That Goes Wrong at Broadway’s Lyceum Theatre and became the show’s associate director when it transferred to New World Stages, and he is still the associate director nine years later. Having started his theatre career in the UK, Mark’s first American project was playing Elder Price for The Book of Mormon’s first National Tour, with his most recent London theatre show being Ghost the Musical in the West End, when he played co-lead role Sam Wheat. Amongst Mark’s further London productions, he played Fiyero in West End’s Wicked (having previously understudied the role), and in the stage adaptation of the Disney Channel Original Movie High School Musical, Mark booked his first lead role starring as Troy Bolton. In 2023, Mark founded Mark Evans Studio in New York, which runs workshops, acting classes and private coaching in the entertainment business. We found out from Mark about playing Billy Graham in the Broadway transfer of Tammy Faye, originating the role of Stuart Dunmeyer in the world premiere of Mrs. Doubtfire, his time as Sam Wheat in Ghost the Musical and running Mark Evans Studio.
Most recently, you were seen on stage as Billy Graham in the Broadway transfer of Tammy Faye at the Palace Theatre; what did you enjoy about performing in the musical and telling the biographical story of Tammy Faye Messner?
This was a pretty tough time, to be honest. There were lots of awesome moments and there were a lot of very challenging moments because the show really struggled and ultimately closed just a few short weeks after opening night. For me, it’s always mostly about the people I get to collaborate with. The cast were amazing, as were the crew. The show had an incredible creative team who approached these real people with compassion and complexity, and being part of a brand-new musical on Broadway is always a special experience.
Was there anything that drew you to the production and what was it like being part of the American transfer?
New work is always exciting because you’re helping to shape it in real time. Every rehearsal, every preview and every audience teaches you something. Bringing the show from London to Broadway meant continuing that evolution while introducing it to a completely different audience, which was a fascinating process – albeit short-lived.
How was your time playing Robert Kincaid in The Bridges of Madison County at Signature Theatre in Virginia?
This was my favourite performing job I’ve done in my career. Robert is one of the most beautifully written roles in musical theatre. He’s quiet, thoughtful and deeply romantic without ever becoming sentimental. I loved the intimacy of the piece and Jason Robert Brown’s extraordinary score. It’s one of those shows that reminds you that stillness can be just as powerful as spectacle. I loved every minute of that 10-week job at the wonderful Signature Theatre in Washington, DC.
You took over the role of Cal in the off-Broadway transfer of Titanique; how did you find the experience working on the show, and how was it seeing the fan response?
Titanique is unlike anything else I’ve ever done. It’s gloriously ridiculous, completely self-aware, and asks the cast to commit with absolute sincerity to the madness. The audience response every night was electric. It’s a reminder that theatre can simply be joyful, and I’m delighted that it’s now doing so well on Broadway, with so many of my friends still involved.
What was it like originating the role of Stuart Dunmeyer in the world premiere of Mrs. Doubtfire in Seattle and bringing the franchise to the stage?
Originating a role is one of the greatest privileges an actor can have because there isn’t a blueprint. You’re discovering the character alongside the writers and director. Stuart could easily have become a caricature, but we worked hard to make him a genuine human being rather than just an obstacle in Daniel’s story. The highlight was working with Jerry Zaks. He is an unbelievably knowledgeable and inspiring director.
How did you feel returning to live theatre after the coronavirus pandemic had closed theatres when you reprised the role of Stuart on Broadway?
I’ll never forget that first audience back. There was an overwhelming sense of gratitude from everyone in the building. The pandemic reminded all of us that live theatre isn’t something we should ever take for granted. It was incredibly emotional to be back doing what we love.
In Waitress the Musical, you played Dr Pomatter opposite Alison Luff at the Brooks Atkinson Theatre on Broadway; what was it like getting into character and performing the songs?
Dr Pomatter is wonderfully awkward and completely endearing. His social clumsiness makes him incredibly relatable, and Sara Bareilles’ music does so much of the storytelling. Those songs demand honesty more than perfection, which is exactly the kind of acting I love. For Dr P, it feels like a two-hander because all of his scenes are opposite Jenna. Sharing the experience with my good friend Alison Luff was what ultimately made it an unforgettable job.
Can you tell us about being in the cast of The Play That Goes Wrong at the Lyceum Theatre on Broadway, and how different was it to your other projects?
This was my Broadway debut and a very special moment for me – a life-changing one. It’s probably one of the most disciplined shows I’ve ever been part of, and it taught me an enormous amount about precision and timing which I still hold onto today because I became the show’s associate director once it transferred off-Broadway to New World Stages, and I’m there multiple times every week taking care of the show… nine years later.
What was it like touring America for the first time when you played Elder Price in The Book of Mormon?
That job completely changed my life. It introduced me to audiences across America and ultimately led to me making New York my home. Elder Price is an incredibly demanding role, but also one of the funniest and most rewarding I’ve ever played. I’ll forever be grateful to the producers and creative team for giving me that opportunity and entrusting me to lead the first National Tour across the States.
How was your time performing as Sam Wheat in Ghost the Musical in London’s West End?
Sam carries so much emotional weight because he spends much of the story unable to physically connect with the people he loves. It required a lot of restraint, which I found incredibly rewarding. It remains one of my favourite roles.
What are some of your favourite memories from Wicked, having joined the West End production in 2011 as Fiyero after previously understudying the role?
Wicked was a huge part of my journey. Going from understudying Fiyero to eventually playing him was incredibly fulfilling. Beyond the role itself, it taught me professionalism. Eight shows a week is a marathon, and Wicked sets an incredibly high standard. I was also recording albums, filming Welsh TV shows and doing all sorts of other work around it, which made it a very busy time. I’m proud to be part of the Wicked family and the show’s legacy.
What do you remember most from playing Troy Bolton in the stage adaptation of the Disney Channel Original Movie – High School Musical?
It was such a cultural phenomenon at the time. The audiences were unbelievably enthusiastic, and many young people were experiencing live theatre for the first time because of that show. Being part of introducing a new generation to theatre was really special. It was also my first lead role in the West End, which made it an unforgettable experience.
Looking back over your extensive career, what are some of your biggest highlights?
Every project has taught me something different. I’ve been fortunate enough to perform in large commercial productions, intimate regional theatre, original musicals and long-running classics. But honestly, some of the highlights aren’t tied to specific jobs – they’re the relationships I’ve built with artists along the way.
Can you tell us about Mark Evans Studio, and how did it come about?
I founded Mark Evans Studio because I wanted to create the kind of training environment I wish every actor had access to – one that’s rigorous, generous and deeply rooted in community. Acting can feel incredibly isolating, so we’ve built a space where actors are challenged while also feeling genuinely supported.
What is the studio like to run, and what can students expect?
It’s one of the most fulfilling things I’ve ever done. We focus on truthful storytelling rather than performance tricks, and we encourage actors to take risks without fear of getting it “right”. The community that’s developed has become just as important as the training itself.
Where does your love of acting come from?
I’ve always been fascinated by people. Acting gives you permission to step into someone else’s experience with empathy and curiosity. That’s something I’ve loved since I was young, and it’s still what excites me today.
Do you have favourite theatre shows to watch?
I love work that takes risks emotionally and trusts the audience. I’m just as happy watching an intimate play in a small theatre as I am seeing a huge Broadway musical. If a production tells the truth, I’m interested.
How do you like to spend your time away from your career?
Most of my time is spent with my family. My husband and our children keep me very grounded, and that’s something I value enormously. I also genuinely enjoy teaching and directing, and I tend to choose more of that these days because of my family being my priority. So, even when I’m not performing, I’m always working with actors.
What advice would you give a new actor?
Work hard. Keep asking questions. Understand the “Why?” in everything you do as an actor, and everything your character does in the play. Stop trying to get it right. So many actors spend their energy trying to make the “correct” choice instead of making a truthful one. Your uniqueness is your greatest asset. Focus on becoming a curious artist rather than trying to become the person you think the industry wants.
What are you hoping the rest of the year brings?
I’m excited to continue growing the studio while also pursuing projects as a director. I’ve always wanted my career to have multiple elements – performing, directing and helping other actors grow. There are a few things in the pipeline that I’m looking forward to, but for now my focus is on continuing to tell stories that challenge me and building a community where actors can do their best work.
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