Can you tell us a bit about your previous work?
I trained at RADA when I left Oxford, and was there for three years. That's how I first went to radio, because in my final year I won an award called The Carlton Hobbs Award and the prize was a six-month contract with the Ä¢¹½¶ÌÊÓƵ.
I went straight from RADA to that and it was just amazing, because it was one or two different plays a week, different roles. [Everything] from new writing to Shakespeare to a bit of comedy. It was just the whole lot, so that was great.
What has been your favourite role so far?
I can't really think of a favourite role really. Little Dorrit was really nice because we did it on location, a bit tricky sometimes with planes and motorbikes, it being Dickens and all. But it was really lovely because we went to some really amazing [old] locations in London. It's a luxury, because obviously something like this has to be done in a studio, but when you do get the chance it's really nice to do that.
I worked with a physical theatre company called The Frantic Assembly, and after being in the studio for such a long time it was nice to actually get to do some proper physical work. We toured with a production called The Tiny Dynamite, which was great, really good fun, and then after that I went and did Stoppard at the National - The Coast of Utopia trilogy.
Meeting Tom, him being such a clever person and so generous [was nice]. It's interesting, [as] you sort of think that directors and writers will be very proprietorial about their work, but actually people can be really very generous. I was there for eight months. I've just left, so here I am - from Stoppard to fighting demons!
