It’s hard to miss the growing trend of casting celebrities in theatre productions and the undeniable boost their presence brings to ticket sales. More often than not, the top billing of a show is handed to someone whose face has graced reality TV or tabloid headlines. If not taking centre stage, you’ll often find these names filling the role of a comic relief character or supporting part — often played by one of the cast of TOWIE or a public figure trying to redeem their image. With theatre tickets rising in price — top-price West End theatre ticket rose by 9% this year — it begs the question: are those hiked costs justified by the celebrity on stage or are we simply paying for the name rather than the best possible performance? Is marketing now more important than quality? Welcome to the world of stunt casting.
Of course, many celebrities started their careers as performers, using reality TV shows like Strictly Come Dancing or I’m A Celebrity… Get Me Out of Here! To revive or boost their public profile. Others may have been thrust into the spotlight through controversy, personal mishaps, or viral fame, turning them into household names overnight. This type of casting doesn’t feel too extreme — these are people with at least some performance background. But increasingly, we’re seeing actors who’ve been exclusive to film and television awkwardly shoehorned into stage roles, where a seasoned stage actor might deliver a stronger performance.
By their very nature, celebrities are exploited across every available platform to keep their names in the public eye, so why not throw a stint on the stage into the mix? But before diving into the debate about celebrities in theatre, it’s worth defining what we mean by “celebrity.” Take Dame Helen Mirren, for example — I would never classify her as a “celebrity.” Her status is built on decades of hard work and exceptional talent. On the other hand someone who gained fame through Love Island or came seventh on The X factor, then transitioned into acting without the years of audition room rejections or the same level of experience, clearly falls into the “celebrity” category.
In fact, the best definition I’ve come across is by Graeme Turner, who said:
“The precise moment a public figure becomes a celebrity occurs when media interest in their activities is transferred from reporting on their public role to investigating the details of their personal lives”
When it comes to finding a haven for has-beens and those clawing at the last strands of public interest, look no further than the great British pantomime. Panto is the perfect playground for celebrities looking to cash in on some winter bucks, often making more in their two-month stint than the rest of us earn all year. You might catch The Hoff swaggering around as Captain Hook, eye-patch and all, or witness Kerry Katona doing her best Maid Marian impression at your local playhouse. Fans flock to buy tickets and queue at stage doors for the golden Instagram opportunity with these household names.
It’s almost tradition now to expect aging comedians like Joe Pasquale as Buttons or Les Dennis as an Ugly Sister, year after year. In panto, the celebrity casting can genuinely be a winning move. There’s a certain magic when Sinitta is wheeled on stage, botox and all, to belt out “So Macho” for the hundredth time, while playfully poking fun at her infamous leaf dress or her ex, Simon Cowell. The kids in the audience might not understand the jokes, but the bright costumes and pyrotechnics are enough to keep them entertained while the adults enjoy a good laugh at her.
Social media goes wild, and marketing becomes effortless with a famous face on the poster. Knowing that one of Coronation Street’s many murderers, or one half of the Chuckle Brothers, will be treading the boards at your local theatre adds a strange kind of excitement. When it’s someone like Craig Revel Horwood or Christopher Biggins, who have been rocking the dame role for years, you know that you’re in for a solid performance — they’ve got the larger-than-life personality down to a T. Plus, if David Hasselhoff won’t don the hook for less than £400,000 (fact!), you can bet the production won’t be skimping on the bells, whistles, and glitter cannons to get their money’s worth.
In recent years, Broadway and The West End have seen a steady stream of celebrity stunt casting in musicals, a move designed to boost ticket sales. While this tactic might fill seats, it often comes at the cost of quality — and with the ever-rising price of West End tickets, audiences should expect the best show, not just the most recognisable faces.
Long-running classics like Wicked and Les Miserables have maintained their prestige by sticking to a high standard of casting. These productions demand exceptional vocal and acting talent, so they have avoided dipping into the shallow end of the celebrity pool — possibly because the shows are now more famous than the sum of their talent. I mean, could you imagine Janet Street-Porter belting out “Defying Gravity” just to get a few more bums on seats? It would be a tragedy. Of course, I have to say my words a little, as one of my favourite Elphabas was played by Lucie Jones, who rose to fame on The X factor but has since proven herself as one of the West End’s brightest talents — and hasn’t exploited herself in the world of celebrity.
Now, contrast that with shows like Everybody’s Talking about Jamie and Waitress, where a rotating door of celebrities has graced the stage. Has it impacted the quality of these productions? Unfortunately, in many cases, it has. A trained stage actor with years of dedication to the craft, will always bring more depth than a celebrity untrained in theatre. Sure, who wouldn’t want to see The Chase’s Mark Labbett play Miss Trunchbull, he would certainly fit the villainous persona, but it wouldn’t gaurentee the same richness as a seasoned performer.
Everybody’s Talking About Jamie is a production that nailed it’s stunt casting. The original production, staring John McCrea as Jamie New, was a triumph. Trained actors like Tamsin Carroll and Phil Nichol brought nuance and depth to their roles. But as the show gained traction, it leaned into more ‘mainstream’ or celebrity casting. Leighton Williams, a trained dancer who is known for his camp personality, took over as Jamie and the casting just made sense, in many ways Leighton was Jamie. Similarly, while I adored Phil Nichol’s as Hugo, Shane Richie’s version had more of a crowd-pleasing humour to it, both good, both entertaining, but different in tone.
There’s no doubt that stunt casting can occasionally enhance a show. When RuPaul’s Drag Race starts like Bianca Del Rio or Michelle Visage joined the cast of Jamie, they added layers to a production already so entwined with the LGBTQ+ community. Their personal histories and celebrity characteristics brought a sense of authenticity and connection that resonated with the shows audience. In moments like these, stunt casting is able to elevate a show — it’s rare, but when it works it works well.
Unfortunately, this isn’t always the case. I was lucky enough to see Waitress during it’s opening week in London, it was a revelation. The original cast was perfect, and the show felt magical. But as the ticket sales began to drop, the producers turned to celebrity names to pull in the crowds, and the quality didn’t just drop, it took a nosedive. Lucy Jones was fantastic as Jenna, but then we saw a parade of stars like Busted’s Matt Willis as Dr. Pomatter, Pussycat Doll Ashley Roberts as Dawn, and an endless string of Z-listers playing Ogie (Jack McBrayer, Blake Harrison, Joe Sugg). While none of these performers were completely untalented, their casting choices were clearly more about filling the seats at the Adelphi Theatre than filling the roles of the characters.
In the end, the frequent use of celebrities in musicals may sell tickets, but it also had the potential to detract from the quality of the performance, or distract from the narrative of the show! West End audience, paying top prices, deserve more than a name on the poster — they deserve the best in the business.
Celebrities have, at times, made successful transitions from the world of reality TV or pop music into serious theatre, a feat that contrasts sharply with the many celebrity flops we see on straight-acting television or in film. The reason for this? It might be the fact that the theatre allows them to avoid the wider, more unforgiving scrutiny of mass media that leaves them so open to criticism. Unlike musicals or pantomimes, where stunt casting can feel glaringly obvious, celebrities in serious plays tend not to stick out as much. There’s an unspoken agreement between the audience and the performer: for the duration of the show, we’ll set aside any preconceived notions about their media persona, we’re here to see a play. In face, if a media personality is serious about proving their acting chops, straight theatre often provides them the best platform.
Take, for example, X Factor winner Shane Ward. While he had already proven himself as a TV actor on Coronation Street, his performance in Band of Gold felt like the first time we were seeing him as a true actor, not just a version of the Shane Ward we’d seen on screen. Comedian Rufus Hound also impressed during his stint with the Royal Shakespeare Company, holding his own and not feeling at all out of place. Then there’s Lily Allen, who surprised everyone with her performance in 2:22 A Ghost Story, winning an Olivier Award before going on to deliver another knockout performance in The Pillowman.
In these moments, the audience isn’t thinking about Allen’s adult toy line, Hound’s political controversies, or Ward’s leaked sex tape. Why? Because if a celebrity is cast in a serious play, it’s usually because they’ve got the talent to back it up. Unlike musicals or pantomimes, where marketing is often prioritised over quality, drama require a higher level of quality control. Serious plays don’t sell based on a name alone; the performance has to be good, or it won’t succeed.
In conclusion, I don’t mind seeing a celebrity in a play, as long as their presence actually benefits the production. A well-known face might sell a few extra tickets, but it needs to make sense. No one wants to see MP Ann Widdecombe as Ulla in The Producers or the Go-Compare guy as Evan Hansen. But if the inclusion of a celebrity keeps theatres open and continues to bring new audiences through the doors — as long as they’re talented and well-suited to the role — what harm can it do?
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