Alexander Hogg, an English actor, writer, composer, and producer hailing from the vibrant West Midlands. With an extensive background in the performing arts, Alexander has carved a niche for himself in the world of theatre and beyond.
We sat down with Alexander to learn more about his exciting new scripted comedy drama and discuss his journey so far.
You have written a brand new scripted comedy drama, For King and Country, what can you tell me about this project?
The entire project has been a joy from start to finish! It was my first time getting one of my scripts into production so there was a lot to learn along the way but I was surrounded by an incredible team to help me along.
For King and Country is a four part audio series that will be released onto podcast platforms. It is a comedy-drama that follows three friends, Barney, Liv and Bob, as they train for national service. A lot of the writing I've been involved with as an actor has had a strong sense of character and community, which is something I've tried to achieve throughout For King and Country. While the series takes place on the backdrop of military training, the real story comes from the relationship between the three main characters and the people they encounter along the way. Under the stresses of their training, they unearth personal struggles and secrets, the only way they'll be able to cope is by coming together. You'll have to have a listen to find out if they do or not!
What inspired you to write this drama?
I suppose the short answer is being inquisitive.
As I often do, I found inspiration from what was going on around me. I was watching the television one day and a celebrity panel was discussing the prospect of a non-military compulsory national service scheme. I simply thought "what if there was a military national service in the UK? Would people my age be able to cope? What impact would it have on people?" Of course, these are questions that I couldn't answer but I soon found out that the sometimes larger than life characters I had created for For King and Country could.
Why you believe now is the right time for this drama?
I think, in recent times, a lot of news stories have shown how divided the UK has been. So, to write something showing characters coming together and relying on the power of their friendship really spoke to me.
I've set the series in my native West Midlands and everyone who worked on the series, both cast and crew, was a local. I think this helped to create a lovely community feel and hopefully this will come across to listeners, helping them feel a sense of togetherness that we could all do with.
The entire project has been a joy from start to finish! It was my first time getting one of my scripts into production so there was a lot to learn along the way but I was surrounded by an incredible team to help me along.
For King and Country is a four part audio series that will be released onto podcast platforms. It is a comedy-drama that follows three friends, Barney, Liv and Bob, as they train for national service. A lot of the writing I've been involved with as an actor has had a strong sense of character and community, which is something I've tried to achieve throughout For King and Country. While the series takes place on the backdrop of military training, the real story comes from the relationship between the three main characters and the people they encounter along the way. Under the stresses of their training, they unearth personal struggles and secrets, the only way they'll be able to cope is by coming together. You'll have to have a listen to find out if they do or not!
What inspired you to write this drama?
I suppose the short answer is being inquisitive.
As I often do, I found inspiration from what was going on around me. I was watching the television one day and a celebrity panel was discussing the prospect of a non-military compulsory national service scheme. I simply thought "what if there was a military national service in the UK? Would people my age be able to cope? What impact would it have on people?" Of course, these are questions that I couldn't answer but I soon found out that the sometimes larger than life characters I had created for For King and Country could.
Why you believe now is the right time for this drama?
I think, in recent times, a lot of news stories have shown how divided the UK has been. So, to write something showing characters coming together and relying on the power of their friendship really spoke to me.
I've set the series in my native West Midlands and everyone who worked on the series, both cast and crew, was a local. I think this helped to create a lovely community feel and hopefully this will come across to listeners, helping them feel a sense of togetherness that we could all do with.
How do you reflect on your own training and journey so far?
From the age of three I attended a variety of different drama classes and I was always the one to get up on the stage at family gatherings. While not strictly training, this taught to have the confidence and love for what I do now.
By working at such a young age, I had fantastic on-the-job training and experiences that I learnt so much from. I don't think some of these things can be taught in an educational setting. However, I'm currently in my second year of training at The University of Chichester Conservatoire on their Musical Theatre (Triple Threat) course and the standard of training here has been incredible.
It has been invaluable to me to be able to tear everything back to basics and really focus on technique. When you're doing a show for a long time, it can be easy to slip into bad habits but I think my time at Chichester is helping me to re-address the balance of instinct and performance alongside best technical practice.
Really, you could say I've done it all the wrong way round by training more intensely after working but I think it has only enriched my drama school experience. Most of the time, I find I can approach things with a knowledge of what each exercise could be applied to. I think this background has really helped me to get the most out of my training at Chichester so far.
Away from theatre, I also trained with Academy Award-Winner Rachel Shenton at The Midlands Screen Acting School from 2013 - 2024. While theatre will always be my first love, I found it really beneficial to broaden my horizons into the world of screen acting. Training with Rachel has opened me up to so many varied opportunities from working on films to music videos as well as improving my work on stage.
Screen acting is stereotypically more naturalistic and subtle than stage but it taught me about connection. Connection to the piece but also connection to myself and how I relate to whichever character I'm playing. Not only does this make performances more believable on screen but I believe it makes theatrical performances more relatable, helping to build a relationship between you as the actor and your audience.
You were part of the iconic Nativity! on stage, what was that experience like?
When I first auditioned for Nativity! in 2017, I don't think I knew quite what I was getting into. I was only eleven at the time and, to this day, it is still one of the longest audition processes I've ever had. When I found out I was cast in the show, I think I was in disbelief. Before Nativity! opened, I'd appeared in Brassed Off at The Wolverhampton Grand but I'd never done anything as intense as what I was about to do.
As soon as rehearsals started, I felt like I was in a completely different world. I couldn't believe that I was being allowed to do this and call it work. A lot of the Nativity! series, whether it's the musical or one of the films, is improvised. As a child, this is pure joy. We were allowed to play and Debbie Isitt, the writer and director, was always so encouraging.
I ended up doing the show for three years and those years are filled to the brim with some of my fondest memories.
How much did the experience of working on the show help shape your journey going forward?
Without sounding too clichéd, my experience on Nativity! changed my life. I genuinely don't think I'd be doing this interview now if it weren't for that show.
Not only did it teach me about technical things like how to pace myself through an eight-show week, but at the age of eleven to thirteen, I was a sponge and I got to go and soak up every bit of knowledge I could from some of the UK's top musical theatre talent. Undoubtedly it has shaped how I perform now, I can see bits of a lot of different people I worked with on this show in aspects of my own performances.
More importantly though, being trusted to try things out and just act along with the adult company with no barrier whatsoever nurtured my creativity. I think now, this has given me a confidence to trust my instincts and commit to anything. One thing Debbie always said to the portion of the child cast that returned to do the show again was: "don't rest on your laurels." We were encouraged to take risks and better ourselves. This work ethic is something I always try to carry with me in whatever I do.
You also starred in Joseph at Kilworth House Theatre. How different was the experience of playing an outdoor theatre?
Working at Kilworth was a completely unique experience everything from rehearsing in the grandeur of the hotel to performing outside came with its own challenges. There were clear differences to any other theatre that I'd worked in before, from having a remote pit meaning we couldn't directly see our musical director, George Dyer, to not having doors into the auditorium which meant sound travelled completely different both on and back stage.
Joseph played in the Summer but, as we all know, the British Summertime doesn't always turn out how we'd like it to. Having to contend with a variety of different contingency plans for different weathers was something I'd never experienced before. Changing blocking in the middle of the show at the drop of a hat was a lot to get my head around but it did mean that every day was different.
As I'll discuss later, doing Joseph was a bit of a full circle moment for me so when I was offered the chance to perform in the show again a year later (this time at The Birmingham Hippodrome) I jumped at the chance. Unlike Nativity!, when I did Joseph a second time, it was a completely different production with slightly different material. It was eye-opening to see first-hand how different creative teams can interpret the same show, especially one we all know so well, so differently.
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| The cast of Joseph at Kilworth House Theatre. |
What are your hopes and dreams going forwards?
I love theatre, and musicals in particular, so I'd love to continue working in that area of the industry on and off the stage. For a number of years now I've been developing my own original musical as librettist and composer-lyricist and I'd love to see that staged one day. The big dream is to be able to balance writing and composing alongside my performing career.
Although theatre is where it all started for me, I've had some incredible experiences on screen projects as well. Since I was offered my first screen role in the 2018 film Nativity Rocks!, it's been another true passion of mine. In fact, when theatres were closed during covid, I was able to continue working by acting in commercials for brands like AXA Insurance and Lidl.
This showed me how open you have to be as an actor, and it's being open to that variety that I love! So I really do hope I'm lucky enough to be able to work on a variety of projects across stage, screen and other media going forward.
What is the one biggest thing you've learned in your career to this point?
It really is hard to boil this down to one answer. I've learned so much and received so much golden advice over the years and every bit of it has helped me in its own way.
I think the thing most relevant to me now, is something Rachel Shenton said to me. She advised me not to wait for permission. If I want to do something, I need to have the courage to go and do it and take that chance.
This is something I kept saying to myself during production of For King and Country. Putting my writing out into the world for the first time could often seem daunting, so I needed to remind myself that I don't need permission to tell my story. I'd also urge any other creatives to take this advice as well because I can certainly say that it's allowed me to move forward and achieve things that I never thought I'd be able to do.
What was the first piece of theatre that had a big impact on you?
I said I'd get back to Joseph and this is why! I remember watching the DVD with Donny Osmand and Maria Friedman as a young child and I absolutely loved it. A couple of years later in 2010, it was the first musical I ever saw live at just four years old. One of my clearest childhood memories is getting up and dancing in the aisle to the mega mix, much to the delight of the two old women sat opposite my family.
I think this was the moment I knew I wanted to do theatre.
What inspires you?
Some of my biggest inspirations are the people I've met as part of my acting journey. As a child actor, I always looked up to the adult company and was in awe as I watched them do what they do best. I'm honoured to still be in touch with a lot of them now because they have definitely played a part in leading me to where I am now.
I also love to see "normal" people reach great success. On days when I might feel I'm being less creative or when I'm stuck in a writing rut, I like to remind myself of these people and think "why can't I?" It helps me remember that anything is possible.
Where can people follow your journey?
You can find me on Instagram and (occasionally) on X @alexanderjhogg
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| Ian Richards, A.D.M. Moore (director), Anabella Taddei-Davies, Alexander Hogg and George Poynton |
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