Since 2024, Tom Sturgess has played lead character Albert Narracott in the touring production of War Horse, and was part of this year’s run at the National Theatre, with the last performance in July. War Horse is based on Michael Morpurgo’s 1982 novel, and was adapted for stage in 2007, and Tom was in the cast for the filmed performance, which had a release on 22nd October for National Theatre at Home. Previously, Tom played Sebastian in Twelfth Night at Shakespeare North Playhouse, and he played Danceny in Les Amistats Perilloses (Dangerous Liaisons) at Teatre Lliure in Spain. Having graduated from ALRA North in 2019, he went on to perform in The Snow Queen at Birmingham Old Rep and Consent at Hope Street Theatre the same year, and he had his West End debut in Harry Potter and the Cursed Child, where he also covered the role of Scorpius Malfoy. Screen experience for Tom has seen him play Oriol in Netflix series Valeria and Roi in the short film Si l’amor no és alxò, que m’assassinin. We found out from Tom about starring as Albert Narracott in War Horse, making his West End debut in Harry Potter and the Cursed Child and his further projects including Twelfth Night.

In 2024, you joined the touring cast of War Horse as lead character Albert Narracott, and stayed with the company for this year’s run at the National Theatre; how did you feel finding out you’d booked the role and how was it taking on such a well-known character?

At first, I didn’t believe my agent! I was over the moon. There were a lot of auditions, and at the end of the casting process, I felt like I had given everything that I could, and with that came a wonderful feeling of whatever happens will be whatever is meant to be. So, finding out that I got the role was a real gift on top of a process that was really exciting as an actor.

Taking on the role of Albert felt like a lot of things, but really now, if I think about it, I was simply holding the baton. It was my turn to run the race with him, and then it ended. I am so grateful to have spent so much time with him. Now, he carries on in the script, the books, with Joey and on the screen, and new, special people will bring him to life in new ways, and then the same process will occur.

Do you have any stand-out highlights from starring in the show over the years that you can share?

There was a lot of joy throughout my time in War Horse – professionally, socially, emotionally, everything. Also, a lot of newness, which made it feel like I lived three lifetimes in one. Opening on the Olivier stage was spectacular – a moment of real awe.

What did you find most rewarding about telling Albert’s story over the course of the play, and why do you think War Horse continues to be so popular with audiences since Michael Morpurgo’s novel was published in 1982 and the stage adaptation premiered in 2007?

His innocence and commitment to love is contagious. For me, getting to interpret the role for so long, the gift that Albert and Joey give to the audience, this gift of unconditional love, hope, courage and kindness, that gift was given straight back to me. I felt like I learned so much from them both.

And I think the story is so popular still because the core of the play rests on faith. A faith that things will get better, and that they should. I think everybody gets to have their own experience with belief when they watch the show.

How different was Albert to play to your other characters, and what do you feel you learnt from the role?

It was so intense!! He had so much energy and so much emotional and physical dynamism, in a way I hadn’t experienced before with other characters. I learned about discipline, optimism and authenticity, amongst a lot of other things.

What was it like performing alongside the rest of the cast (which included Stephen Beckett and Jo Castleton as your on-stage parents in London), and how did you find the experience working with Joey’s puppet?

I was so lucky to work alongside such inspiring, dedicated and detailed actors, and creative and technical teams. Everybody gave their whole hearts to the show, and that helped me to give mine.

Joey was the greatest gift to me as an actor. The puppeteers are simply magnificent in their attention to detail, focus, playfulness, and honesty… Working alongside Joey brought me into the present every time we interacted.

How did you feel on your final performance as Albert at the National Theatre in July, and is there anything you miss most about the character?

Just gratitude. I was just so thankful, and I felt so full-hearted. I knew it was ending, and was also excited to have space for new things in my life too (21 months doing the same character is a long time). Where there was sadness, there was also pure joy for having had such a wonderful experience.

I miss messing around with Baby Joey!

War Horse was filmed during the run for the recent National Theatre at Home: War Horse release; what was it like having cameras in the theatre to film the show, and how does it feel knowing those who weren’t able to see the production live will now get the chance to watch it on screen?

For us on stage, it felt like any other show. We were rightfully told to just focus on the show for the people who were in the auditorium, give them the show they deserve to watch and have paid for. And then trust the creative team to create a digital version that they are happy with and that tells the story for a brand-new audience online.

I’m glad the show has another life online, especially on a platform like NT at Home, that gives a different audience the chance to enjoy the work too.

How was your time playing Sebastian in Not Too Tame’s Twelfth Night at Shakespeare North Playhouse?

I love Shakespeare, and with it being my first professional production of one of his plays, I really dug my teeth into the text and the interpretation of it all. I worked with some really wonderful actors too. I have been very lucky so far with the actors I have shared the stage with. It was great fun.

Can you tell us about being in the cast of Les Amistats Perilloses (Dangerous Liaisons) at Teatre Lliure in Spain as Danceny?

This was probably my most mentally challenging job in terms of my anxiety/self-esteem/confidence as a performer. We rehearsed and performed in Catalan, a language that I was relatively new to, and it really brought me into contact with the edges of my comfort zones. I think I grew a lot and tried to gently and bravely stretch myself and my capabilities.

But – even though it was difficult, the company were so beautiful. They took such good care of me, and to perform in Barcelona’s Teatre Lliure, a spectacular building in one of the most beautiful cities I’ve been to, was a real gift.

What was it like having Harry Potter and the Cursed Child as your West End debut and how was it preparing to open in the production?

Again, a gift! I have had a lot of them in my career so far, for which I am incredibly grateful. I remember going to watch the show with my friends in March 2019, and then being offered the job in the November. The rehearsals were intense, and the adrenaline was high, but the experience was brilliant.

What are some of your favourite memories from performing in Harry Potter and the Cursed Child, and how was it covering the role of Scorpius Malfoy?

The company were brilliant again. It was such a magical show on stage, and even more so off stage. A lot of fun, games and silliness. Covering Scorpius was a huge pleasure. I loved him and every interaction that he had. I felt so playful, and even though I wished then that I could have done it more, he taught me so much in the small time we had.

What was it like working on The Snow Queen at Birmingham Old Rep and Consent at Hope Street Theatre in 2019 – the same year you graduated from ALRA North?

It was a really nice feeling to have some momentum. Leaving drama school is hard, and the shift from study to industry is one that can only be navigated by going through it. So I was very lucky to have two completely different projects to start gaining professional experience from.

On screen, you played Oriol in the Netflix series Valeria and Roi in the short film Si l’amor no és això, que m’assassin, how were these to film?

They were really interesting experiences. For Oriol, I went to Madrid, and it was my first experience on quite a big Netflix set. It was super smooth (they obviously know what they are doing), but I also felt very cared for and attended to, even though it was such a small role.

And Roi was again another brand-new experience. We flew to Menorca and spent a week filming and living together. I was still relatively new to the language (and the dialect in Menorca was tricky!), so I was, again, faced with my edges. But the group was lovely and Menorca is one of the most beautiful places.

Where does your love of performing come from, and how did you originally get into it?

PANTOMIME! From a young age, I performed in pantomimes with an amateur dramatics group in Wigan, and it was the most joyous and playful time. If it wasn’t for this and the joy I felt from these experiences, I don’t think I would be doing it still.

Do you have any favourite theatre shows to watch, and are there any you’d most like to see that you haven’t as yet?

Tricky! I watched PRIDE at the National when I was there and absolutely loved it. I also have a friend who will be in it when it transfers to the Bridge, so I will definitely go and see it again. Also, Jo Castleton, who played Rose in War Horse and who, in my opinion, was the beating heart of our show, is now doing Paranormal Activity, so I will definitely be going to see that too.

What advice would you give a new actor hoping to work in the theatre industry?

It’s so hard to say… There’s the practical advice of keeping yourself busy and creative when not in professional work etc, but I think the real advice I would give is to try and treat it as a way of exploring life, instead of as a way of getting work.

Being a creative in the professional sense is not easy at all. You will be faced with constant rejection and pushed to the limits of your self-esteem and confidence. But what this brings is the opportunity to constantly remind yourself that the artist that you are is always present, and to start viewing life as a creative endeavour, not just the work.

Just because you aren’t working doesn’t mean you’re not an artist. Every moment of life, when met with presence and an open heart, will only bring you more experience that you can then bring into your professional work.

What do you enjoy doing away from your career?

Looking at the clouds (do it!!), reading, playing music, walking and meditating.

Do you have any upcoming projects that you can tell us about, and what are you hoping the next year brings you?

No projects as of yet… some exciting maybes. Professionally, I hope the next year brings me new challenges and new things to learn. And personally, I just hope the next year brings me more inner stillness and deep joy.