Rewrite
From Shadow and Bone to Shakespeare’s Globe, the rising thespian tells Wonderland about the joys of theatre and performing at the iconic Sam Wanamaker Playhouse.
Nestled among Shakespeare’s Globe, arguably the most legendary theatrical venue in the world, is The Sam Wanamaker Playhouse, the candlelight indoor vessel of atmosphere that is into its eleventh season. Opening on 8th November to aggrandise the current year’s schedule is a highly anticipated enactment of All’s Well That Ends Well. Directed by Globe debutant Chelsea Walker, the adaptation is set to be drowsed in satire and scheming, a dense and daring vision that Walker and co has brought to life with aplomb.
The cast is filled with familiar names—from Industry and Poldark alumni Ruby Bentall to hotly tipped rising star Kit Young. Young stole the hearts of Netflix viewers with his turn as Jesper Fahey in fantasy series Shadow and Bone, as well as starring alongside Bill Nighy and Michael Ward in The Beautiful Game, a heartfelt gem about the Homeless World Cup. He’s a self-defined “Shakespeare geek,” and previously featured in Bridge Theatre productions of A Midsummer Night’s Dream and Julius Caesar. Now, he takes on the complex and charismatic Bertram in one of his most cherished roles to date.
Ahead of the play’s debut, Wonderland caught up with Kit, discussing the legacy of Shadow and Bone, his love of Shakespeare, and performing at the iconic venue.
What you need to know…
Read the interview…
Hey Kit! How are you? How’s your year been?
Great, thanks! My year has been really interesting. I’ve been shooting out in Thailand from February through to July, so I left South London with everyone doing New Years resolutions and I only got back in the summer. I really enjoyed that time away, but it feels good to be back home and doing theatre again.
How did you first find a passion and talent in acting? Was there a particular moment that you knew you wanted to do it as a career?
I started acting at the age of eight and I was doing pantos in Oxfordshire. I just wanted more of it, and I was just doing a lot of youth theatre too. I remember seeing my first Shakespeare as well and enjoying it. I didn’t expect to be the Shakespeare kid, but I really took to it, and I loved it. I couldn’t get enough really!
Talk us through your journey on Shadow and Bone. How did you first get the part? How did you tackle the role?
That was an interesting role because it came after I was first working at the Globe. It was one of those things that a lot of people were auditioning for and I auditioned for a different character, and it was one of the worst auditions I’ve ever had! I kind of left it and didn’t think about it but the producers came to see a show I was in, and I got a call for the role that I now play. I went from doing theatre consistently to packing up my bags and into a long filming role for the first time. I felt very out of my depth, but it was so exciting as well!
What is the show’s legacy in your opinion? How does it feel to be part of a series at the pinnacle of culture?
It is great to be part of the show and book’s story. I get stopped on the street which is always a bit random and bizarre. People often ask me to sign the books which at first, I was a bit unsure about, because obviously, I didn’t write them, but you begin to understand that you are part of its story. It shows there’s almost an acceptance of your role in something people really care about and that your contribution is meaningful. It means a lot that the show is done, but it still holds a place in people’s lives.
Congratulations on your role in the new adaption of All’s Well That Ends Well. How did the opportunity first come about? How familiar were you with the original play?
I’m a little bit of a Shakespeare geek – but I come to the Globe and there’s so much you learn that you don’t know! All’s Well That Ends Well is a tricky read because there’s a lot is going on and there are a lot of story threads. There are all these people, who all have an agenda. Dark intentions, pure intentions, and no one gets out unscathed! I met Chelsea Walker, the director, and she had so many great ideas about Bertram, which made me think I really wanted this job!
How does it feel to be performing in one of the most iconic venues around the world, Shakespeare’s Globe?
The Sam Wanamaker Playhouse (the indoor candlelit theatre at Shakespeare’s Globe) is such an atmospheric venue; it really transports you to a different space. The audience is so close, so it feels almost cerebral. The Globe Theatre has a huge scale and spectacle to it – but this almost feels like a secret that is being shared. The Sam Wanamaker Playhouse is into its eleventh season now so it’s kind of amazing to be part of its early history. Everyone who watches a show here has something good to say about this space, but there are lots of people still to discover it!
How did you get into character as Bertram? Were there any key references or performances that you looked to?
Bertram is a very entitled and privileged young man – but he is also a bit of a rebel. He is the court, and, in our world, he is second down from the king. It’s looking at people who have a lot of privilege but have zero accountability. There’s a bit of Roman from Succession for sure. He represents something that is important to people, and he doesn’t really know what to do with that power. I love playing morally grey characters and he sits firmly in that camp. A bit of an anti-hero!
You star opposite Ruby Bentall, how has that been?
Ruby is great. In All’s Well there’s that classic Shakespeare thing where the two central characters don’t have too many scenes together; so when we do share a scene it’s a real treat. Ruby has the bulk of the words as well, and she is absolutely nailing it. That goes for the whole cast, who are sensational at what they’re doing!
And how is working with director Chelsea Walker?
Chelsea has really cultivated this world and this setting. She has been so collaborative and welcomed everyone into the space to build this together. There is a lot of darkness in the play – a lot of humour as well – and we’re still working it all out, but it’s been really fun.
What aspect of the show are you most excited to show audiences?
I’m playing a bit of guitar and I’m also going to sing a bit as well. I don’t think it will be expected from the character so I think it could be quite sweet and fun. It will be a very different side to him from the earlier scenes.
What else have you got coming up?
I’m in Alien: Earth – which is the first TV show for the Alien franchise. I can’t say too much about it but that comes out in 2025 so I’m excited to share that soon!
All’s Well That Ends Well is at The Sam Wanamaker Playhouse from 8th November until 4th January. Book tickets here.
in HTML format, including tags, to make it appealing and easy to read for Japanese-speaking readers aged 20 to 40 interested in fashion. Organize the content with appropriate headings and subheadings (h1, h2, h3, h4, h5, h6), translating all text, including headings, into Japanese. Retain any existing
tags from
From Shadow and Bone to Shakespeare’s Globe, the rising thespian tells Wonderland about the joys of theatre and performing at the iconic Sam Wanamaker Playhouse.
Nestled among Shakespeare’s Globe, arguably the most legendary theatrical venue in the world, is The Sam Wanamaker Playhouse, the candlelight indoor vessel of atmosphere that is into its eleventh season. Opening on 8th November to aggrandise the current year’s schedule is a highly anticipated enactment of All’s Well That Ends Well. Directed by Globe debutant Chelsea Walker, the adaptation is set to be drowsed in satire and scheming, a dense and daring vision that Walker and co has brought to life with aplomb.
The cast is filled with familiar names—from Industry and Poldark alumni Ruby Bentall to hotly tipped rising star Kit Young. Young stole the hearts of Netflix viewers with his turn as Jesper Fahey in fantasy series Shadow and Bone, as well as starring alongside Bill Nighy and Michael Ward in The Beautiful Game, a heartfelt gem about the Homeless World Cup. He’s a self-defined “Shakespeare geek,” and previously featured in Bridge Theatre productions of A Midsummer Night’s Dream and Julius Caesar. Now, he takes on the complex and charismatic Bertram in one of his most cherished roles to date.
Ahead of the play’s debut, Wonderland caught up with Kit, discussing the legacy of Shadow and Bone, his love of Shakespeare, and performing at the iconic venue.
What you need to know…
Read the interview…
Hey Kit! How are you? How’s your year been?
Great, thanks! My year has been really interesting. I’ve been shooting out in Thailand from February through to July, so I left South London with everyone doing New Years resolutions and I only got back in the summer. I really enjoyed that time away, but it feels good to be back home and doing theatre again.
How did you first find a passion and talent in acting? Was there a particular moment that you knew you wanted to do it as a career?
I started acting at the age of eight and I was doing pantos in Oxfordshire. I just wanted more of it, and I was just doing a lot of youth theatre too. I remember seeing my first Shakespeare as well and enjoying it. I didn’t expect to be the Shakespeare kid, but I really took to it, and I loved it. I couldn’t get enough really!
Talk us through your journey on Shadow and Bone. How did you first get the part? How did you tackle the role?
That was an interesting role because it came after I was first working at the Globe. It was one of those things that a lot of people were auditioning for and I auditioned for a different character, and it was one of the worst auditions I’ve ever had! I kind of left it and didn’t think about it but the producers came to see a show I was in, and I got a call for the role that I now play. I went from doing theatre consistently to packing up my bags and into a long filming role for the first time. I felt very out of my depth, but it was so exciting as well!
What is the show’s legacy in your opinion? How does it feel to be part of a series at the pinnacle of culture?
It is great to be part of the show and book’s story. I get stopped on the street which is always a bit random and bizarre. People often ask me to sign the books which at first, I was a bit unsure about, because obviously, I didn’t write them, but you begin to understand that you are part of its story. It shows there’s almost an acceptance of your role in something people really care about and that your contribution is meaningful. It means a lot that the show is done, but it still holds a place in people’s lives.
Congratulations on your role in the new adaption of All’s Well That Ends Well. How did the opportunity first come about? How familiar were you with the original play?
I’m a little bit of a Shakespeare geek – but I come to the Globe and there’s so much you learn that you don’t know! All’s Well That Ends Well is a tricky read because there’s a lot is going on and there are a lot of story threads. There are all these people, who all have an agenda. Dark intentions, pure intentions, and no one gets out unscathed! I met Chelsea Walker, the director, and she had so many great ideas about Bertram, which made me think I really wanted this job!
How does it feel to be performing in one of the most iconic venues around the world, Shakespeare’s Globe?
The Sam Wanamaker Playhouse (the indoor candlelit theatre at Shakespeare’s Globe) is such an atmospheric venue; it really transports you to a different space. The audience is so close, so it feels almost cerebral. The Globe Theatre has a huge scale and spectacle to it – but this almost feels like a secret that is being shared. The Sam Wanamaker Playhouse is into its eleventh season now so it’s kind of amazing to be part of its early history. Everyone who watches a show here has something good to say about this space, but there are lots of people still to discover it!
How did you get into character as Bertram? Were there any key references or performances that you looked to?
Bertram is a very entitled and privileged young man – but he is also a bit of a rebel. He is the court, and, in our world, he is second down from the king. It’s looking at people who have a lot of privilege but have zero accountability. There’s a bit of Roman from Succession for sure. He represents something that is important to people, and he doesn’t really know what to do with that power. I love playing morally grey characters and he sits firmly in that camp. A bit of an anti-hero!
You star opposite Ruby Bentall, how has that been?
Ruby is great. In All’s Well there’s that classic Shakespeare thing where the two central characters don’t have too many scenes together; so when we do share a scene it’s a real treat. Ruby has the bulk of the words as well, and she is absolutely nailing it. That goes for the whole cast, who are sensational at what they’re doing!
And how is working with director Chelsea Walker?
Chelsea has really cultivated this world and this setting. She has been so collaborative and welcomed everyone into the space to build this together. There is a lot of darkness in the play – a lot of humour as well – and we’re still working it all out, but it’s been really fun.
What aspect of the show are you most excited to show audiences?
I’m playing a bit of guitar and I’m also going to sing a bit as well. I don’t think it will be expected from the character so I think it could be quite sweet and fun. It will be a very different side to him from the earlier scenes.
What else have you got coming up?
I’m in Alien: Earth – which is the first TV show for the Alien franchise. I can’t say too much about it but that comes out in 2025 so I’m excited to share that soon!
All’s Well That Ends Well is at The Sam Wanamaker Playhouse from 8th November until 4th January. Book tickets here.
and integrate them seamlessly into the new content without adding new tags. Ensure the new content is fashion-related, written entirely in Japanese, and approximately 1500 words. Conclude with a “結論” section and a well-formatted “よくある質問” section. Avoid including an introduction or a note explaining the process.
