On Thursday 19th November, Steven Webb opens in the role of The Comedian in Feeling Afraid As If Something Terrible Is Going To Happen at The Other Palace in London, with the one-man show running until Sunday 10th January, and he previously starred in the premiere at Studio Theatre in Washington DC in June and July. Over the 2025 festive season, Steven played Jiminy Cricket/Coachman in Pinocchio at Shakespeare’s Globe, and prior to this, he played Storyteller 2 in the UK premiere of Shucked at Regent’s Park Open Air Theatre and Colin in Here You Come Again, featuring the music of Dolly Parton. From 2016 to 2023, Steven played Elder McKinlay in The Book of Mormon at the Prince of Wales Theatre in the West End, and amongst his further stage projects, he played Posner in The History Boys at the National Theatre, on two UK tours and the first run in the West End, and he had his first lead role in a musical playing Oliver in Oliver! at The London Palladium. Steven also has screen experience, including guest roles in The Hairdresser Mysteries, Believe Me, Twenty Twenty Six and The Inbetweeners as Alastair Scott. Speaking with Steven, he told us about his upcoming run in Feeling Afraid As If Something Terrible Is Going To Happen at The Other Palace, being in the cast of Shucked and his time as Elder McKinlay in The Book of Mormon.

Can you tell us about Feeling Afraid As If Something Terrible Is Going to Happen, which is open at The Other Palace from Thursday 19th November until Sunday 10th January 2027?

It’s a one-man show written by Marcelo Dos Santos and directed by Matthew Xia. It centres on a mid-tier stand-up comedian whose performance style is heavy on self-deprecation and neurosis. The play is staged as a stand-up gig and so it’s an onslaught of jokes and gags. As we discover more about The Comedian and his battles with finding lasting connections, the play begins to shift, and you’re not sure what’s part of the set and what’s his real life gate-crashing the gig.

Ultimately, he meets and falls in love with a character known as The American and faces the ultimate trial – everything seems perfect, which can only mean it’s going to come crashing down, so do I crash it myself to speed up the inevitable? About halfway into the play, The American reveals a secret that changes the course of the play. It’s a huge twist – one that is potentially the worst disclosure a comedian could receive.

In the production, you are playing The Comedian; what is it like taking on the role and how do you find the experience performing in a one-man show?

It’s unlike anything I’ve ever done. I’ve been performing in theatre for over three decades, but I’d never done a one-man show. So, to have such a brand-new experience this far into my career is exhilarating. It’s also rather terrifying! There’s no help out there. It’s just you and the audience for 75 minutes.

The nature of the show being a stand-up environment also means there’s a unique, live element to the show at every performance. My performance is, in some ways, led by the audience. I learned to read what the vibe was out there each night and steer accordingly. That is one of my favourite elements.

As for the role itself, it’s one of those rare characters where I get to do a bit of everything (sadly, no tap dancing) and physically and mentally test myself. It may only be 75 minutes, but let me tell ya, I’m a shell of a man afterwards.

What was it like starring in the US premiere at Studio Theatre in Washington DC in June and July, and how was it seeing the fan response to the run in America?

That was a dream come true. It was my first time working in the States and, not only did it tick off a lifelong ambition, it was one of my most fulfilling career highlights. I loved everything about it: Studio Theatre and all its staff, the city, the play, the weather and the incredible audiences.

How different do you think it will be performing Feeling Afraid As If Something Terrible Is Going to Happen at The Other Palace, and why do you think London audiences will enjoy the play?

I honestly have no idea how different it will be, but I can’t wait to find out. The American audiences were largely on side immediately before the show began. They would cheer as soon as the lights dimmed at the first entrance. I felt a bit spoiled by that, and it was such an exhilarating way to start a performance.

Having worked in British theatre for so long, I can’t see that being as common. But, in turn, not having that would spur me on to win them over with the first few lines of dialogue. A challenge I wholeheartedly accept.

How did you prepare for the role, and how is it working with the creative team – writer Marcelo Dos Santos and director Matthew Xia?

Preparation-wise, we began every rehearsal day by watching gigs of various stand-ups on YouTube. We wanted to get a feel for the varied performing styles of British comedy artists to decide where The Comedian sits in that realm. It was a great way to start the day – laughter and coffee.

Other than that, I didn’t do much preparation before rehearsals, as it’s the type of show that we find in the room. The Comedian plays several other people in his set, so we had to choose accents, physicalities and vocal patterns for each of them.

It was such a treat having the writer in the room. Marcelo is so generous and open with his material, and he would shift things here and there to help create our version of The Comedian. He was also very encouraging to me when I would be close to having a meltdown about the amount of words I had to learn, and he always managed to talk me back from the ledge.

For the DC incarnation of the show, I only got to work with Matthew for a few days here and there, as he is the busiest man in theatre. I think he was working on 63 productions at once during our rehearsals, and so our incredible associate director Sophie Drake was with me for the bulk of rehearsals. I’m getting a full week with Matthew to re-stage this version, which I’m looking forward to.

What are you enjoying most about being involved with Feeling Afraid As If Something Terrible Is Going to Happen, and was there anything that originally drew you to the production?

Just the text itself drew me to it. It’s incredibly witty and laugh-out-loud funny, but there’s a heart-wrenching vulnerability to the character that gives the play such depth and a unique insight into the dichotomy of his mind.

I’ve always loved making people laugh. It’s the biggest joy in my life, but it can come with a cost. The play tackles that theme in a resonating way, for me. Sometimes, the harder we focus on entertaining others, we forget about our own smile.

Over the 2025 festive season, you could be seen as Jiminy Cricket/Coachman in Pinocchio at Shakespeare’s Globe, how was this?

It was a wonderful experience. I’ve worked with the director, Sean Holmes, several times over the years, so we have a great working relationship. He knows my strengths and gives me a lot of freedom in the rehearsal room, which meant we were able to really collaborate on creating those characters.

Working at that theatre is magical. The whole production was. Another highlight of recent years for me.

What was it like performing in the UK premiere of Shucked as Storyteller 2 at Regent’s Park Open Air Theatre last year?

Speaking of highlights! Shucked is quite possibly my favourite job I’ve ever done. Something about that production, those people and that theatre was sheer perfection. It was kismet. Everyone who worked on it was a joy.

It’s not often you do a show where there isn’t at least an element that isn’t disappointing or frustrating. That just didn’t happen on Shucked, for me at least. And for that reason, I’d never do it again. I wouldn’t want to risk the experience we had.

How was your time working on the musical Here You Come Again (featuring the music of Dolly Parton), in which you played Kevin?

I loved this show, but it was hard work! The musical was essentially a two-hander, with me and the amazing Tricia Paoluccio (who also co-wrote), who played Dolly Parton in the show. It featured all of Dolly’s hits, and some awesome deep cuts.

The show was so kinetic and vibrant which meant there was never a moment to chill. My character also went on an extreme emotional journey, so it was like a marathon every night. It was so utterly fulfilling and satisfying, but my 40-year-old body would pack in every night when I got home.

I’ve always been a huge Dolly fan, so it was an honour to travel the country, bringing her music and outlook to thousands of people.

From 2016 to 2023, you were in the cast of The Book of Mormon at Prince of Wales Theatre in the West End; what was it like playing Elder McKinlay over your seven-year run, and what are some of your favourite memories from being part of the show?

It’s funny, being in a show for so long makes the experience feel like a blur. It’s almost difficult to differentiate each year. That was a dream part and a dream show, so I look back on it as a very special time of my life.

I played him for five years (we were down for almost two during COVID), and even after that amount of time, it was hard to step away. There’s something unique about a show like that. It’s sold out every night, it’s outrageous, and the room is filled with laughter for two hours. Even what we might have called a ‘quiet night’ on that show would be a lot comedy show’s ‘loudest’.

It was a gift and it changed my life in so many ways.

How was it joining The History Boys as Posner, and what was it like getting into character?

The History Boys was such a big moment for me. I got to play Posner in the second cast. We played the National Theatre, did two UK tours and then finished with the show’s first run in the West End. It was a two-year job altogether.

It was also over 20 years ago, and so my memory is somewhat blurry. We were just a bunch of young actors having a riot and getting to be a part of one of the biggest plays of the century. We were very naughty though. That I do remember. But what do you expect?

I made some incredible friends on that job and have watched with pride as they all grew up and found continued success. I’ve just seen it’s been announced that it’s returning to the West End next year! I, for one, will be there.

What do you remember most from your first lead role in a musical, where you starred as Oliver in Oliver! at The London Palladium?

I mostly remember not being wracked with nerves. That’s something that has only grown as time goes on, for me. I would just run around singing and dancing and asking for ‘more’. I don’t think the pressure or gravity of the role ever really registered with me at that age, which is kind of precious. I wish I could be so carefree and confident now.

As a screen actor, you have had guest roles this year in The Hairdresser Mysteries as Jonty Starr and Believe Me as Mike Rafter, can you tell us about filming for both?

They were really lovely to do. I hadn’t done TV for about 10 years because I’d been so busy with theatre, but then stars aligned last year and I got to do three telly jobs back to back.

I filmed an episode of John Morton’s Twenty Twenty Six, which was a dream come true. I’m such a huge fan of his work, and have auditioned for his shows several times over the past 15 years, but only ever gotten close or down to the last two. So, to finally be given a part was a thrilling, full-circle moment.

That was the most fun I’ve had on a set. It’s my type of comedy, perfected.

What was it like guest-starring in the hugely-popular comedy series The Inbetweeners as Alastair Scott, and how was it filming your episode?

It was great. Going into that, I knew it was a big deal as it was Series 3, and The Inbetweeners was part of the cultural zeitgeist. I felt quite nervous and overwhelmed, but the boys were so welcoming and playful that my anxieties dissipated quickly.

I still get recognised from that one episode more than anything else I’ve ever done. So Alastair Scott will be with me forever.

Your further projects have included Miranda, I Want My Hat Back, On the Shore of the Wide World and As Is; can you say about some of your stand-out highlights from your wider career?

I was part of something called The Secret Theatre Company, helmed by the aforementioned Sean Holmes. There were 10 actors, four writers, three directors, two designers and a dramaturg, and we made seven shows over two years.

It was inspired by the theatre ensembles in places like Berlin, where you have a family of artists who come together and create theatre for a lengthy amount of time. We did some classics, devised pieces, new writing and experimental work. It was unlike anything I’ve ever experienced or will again.

Sometimes we failed; sometimes we made magic. And I learned more from that experience than from any other I’ve had. It changed how I work, how I think and how I understand theatre. It was truly life-changing, and I think that without the failures, we wouldn’t have found the successes.

What I learned there has also absorbed into how I walk through the world somewhat. It was almost a spiritual experience.

How did you originally get into acting and was it always something you wanted to do professionally?

I knew it’s what I wanted to do when I played the Narrator in my school’s Nativity when I was four. I originally wanted the part of Joseph, but my teacher insisted I was the Narrator. It transpired that in this production, Joseph was very much a cameo, and the Narrator was the male lead. I think Mrs Collins could also see that I was meant to be on stage.

From there, I joined a local theatre club in Liverpool, that I would go to on Saturdays. I did various shows at the Liverpool Empire when I was eight to 10 years old, and then, through nationwide open auditions, I landed the role of Oliver in the West End when I was 10. And I basically just carried on from there!

How do you like to spend your time away from performing?

I’m a bit of a homebody, so I like to stay indoors with my dog and watch horror movies.

Follow Steven on:

Instagram