Charlie Hiscock Makes His Stage Debut in GLORIOUS!

When news broke that Charlie Hiscock, best known for his role on Ted Lasso, was about to make his stage debut, theatre fans perked up with curiosity. Even more intriguing is the fact that Hiscock chose a comedy about “the worst singer in the world” as his vehicle onto the boards. That woman is the legendary Florence Foster Jenkins—an eccentric socialite whose off-key notes and flamboyant performance style have inspired musicals, plays, and an Oscar-nominated film. Now, Manchester’s Hope Mill Theatre is giving Peter Quilter’s GLORIOUS! its first major U.K. revival, combining comedic flair with a poignant exploration of artistic passion. If you’re looking for a spirited night out featuring questionable singing, unwavering self-belief, and a rising theatre talent in his very first stage role, read on.

The Show That Defied Musical Logic

GLORIOUS! revolves around the real-life American socialite Florence Foster Jenkins, whose hallmark was singing spectacularly out-of-tune. Not content to keep her talents confined to private gatherings, Jenkins often performed to packed audiences, all too eager to witness her inimitable brand of musical mayhem. Yet behind the comedic veneer lay an endearing conviction that her voice was an instrument of joy. For Jenkins, it didn’t matter whether she hit or missed the note—what mattered was performing from the heart.

In terms of theatrical pedigree, GLORIOUS! was nominated for Best New Comedy at the 2006 Olivier Awards, reflecting how it captured the spirit of a woman whose zeal overshadowed her technical limitations. Written by Peter Quilter(known for END OF THE RAINBOW, a stage take on Judy Garland’s later life), the play offers a rib-tickling script that has proven popular with audiences on both sides of the Atlantic. This new Manchester run promises not only a fresh spin on Jenkins’ antics, but also a glimpse into how comedic theatre can thrive outside London’s West End.

Enter Charlie Hiscock

In a move that might surprise viewers who know him as Will Kitman from Ted Lasso, Charlie Hiscock is set to swap television sets for the footlights of Hope Mill Theatre. Making his stage debut as Cosme McMoon, Jenkins’ long-suffering yet devoted accompanist, Hiscock shoulders a role that demands comedic timing and a nuanced sense of empathy. Cosme is the audience’s surrogate: simultaneously appalled by Jenkins’ lack of talent and enthralled by her boundless optimism.

Hiscock’s decision to step into live theatre underscores a growing trend of screen actors seeking roles on stage. Many see it as an opportunity to flex creative muscles in a more intimate environment where immediate audience reactions shape the performance. While the comedic demands of GLORIOUS! differ from the more understated style in Ted Lasso, the show’s high-energy format could be the perfect way for Hiscock to test his range. Early buzz suggests that fans of the series might be pleasantly surprised by his live comedic instincts, further aided by a cast of seasoned stage professionals who know how to get the best out of a new talent.

Wendi Peters As The Off-Key Diva

Stepping into the role of Florence Foster Jenkins is Wendi Peters, whose name should ring a bell if you follow British soap operas or stage musicals. With credits that span from Coronation Street to stage roles in hit shows like White Christmas, Peters has garnered a reputation for delivering bold, character-driven performances. Jenkins, with her outlandish costumes and unwavering confidence, provides a golden opportunity for Peters to flex those comedic chops while also teasing out the pathos behind the façade.

Florence Foster Jenkins wasn’t just a two-dimensional figure of ridicule. Despite her tuneless voice, she believed so fervently in her calling that audiences found themselves torn between laughter and admiration. That emotional complexity is precisely what GLORIOUS! aims to highlight. The comedic bits—bungled arias, hilarious costume changes—serve as the bright canvas on which deeper questions about artistic ambition are painted. According to those who’ve previously seen the show, watchers may leave the theatre laughing but also thinking about the nature of talent, self-delusion, and the joy that comes from unbridled creativity.

A History Of Stage And Screen Success

Many might recall Florence Foster Jenkins from the 2016 film starring Meryl Streep and Hugh Grant, which collected an Oscar nomination and a BAFTA win. That cinematic portrayal ignited a new wave of interest in Jenkins’ life story, introducing her to modern audiences who may never have heard of her improbable stardom. But the origins of the comedic retelling can be traced back to Quilter’s 2005 play, which quickly garnered attention in theatre circles and soon landed its Olivier nod.

With Jenkins’ story resonating across these multiple platforms, the question arises: Why does this tale continue to captivate? In part, it’s the tension between public perception (she can’t sing) and personal determination (she refuses to quit). On another level, the comedic angle is a Trojan horse, luring audiences in with the promise of laughter but ultimately giving them a meditation on ambition, devotion, and the blurred line between supportive friendship and collusion. Jenkins’ real-life concerts sold out not just because she was “the worst singer” but because she embodied a disarming purity of spirit that overshadowed her lack of technique.

A Team With Flamboyance And Finesse

Also featured in this revival is Anita Booth playing a trio of parts (Dorothy, Maria, and Mrs. Verrinder-Gedge), Ella Maria Danson as Florence’s cover and other female roles, and George Miller as Cosme’s cover. This multiplicity of roles reflects the comedic nature of the show, where quick changes and adaptability become the order of the day. According to the creative team at Hope Mill Theatre, comedic synergy works best when each player feeds off the other’s energy.

Under the direction of Kirk Jameson—who has helmed productions like Song from Far Away and I Am Harvey Milk—the cast has the benefit of a director well-versed in comedic pacing. Jameson’s approach emphasises interplay between timing, dialogue, and physical expression. Meanwhile, Nick Barstow steps in as musical supervisor, a role that’s crucial when half the joke revolves around Jenkins’ off-pitch singing and McMoon’s painstaking accompaniment. Just imagine the comedic precision needed when a seasoned musician must “sound wrong” convincingly, without letting the comedic effect descend into complete chaos.

Manchester’s Hope Mill Theatre

Hope Mill Theatre, the show’s host venue, has been steadily solidifying its reputation as one of the most exciting spaces for musical theatre and plays alike. Founded by Joseph Houston and William Whelton in 2015, the theatre quickly made a name for itself through a series of bold revivals and lesser-known musicals, winning awards and critical acclaim in the process. Locals have embraced it as a cultural gem, while visitors from farther afield are often surprised to find such high-calibre productions outside of London’s West End.

This revival of GLORIOUS! continues that tradition of championing distinctive theatrical experiences. By casting a TV star like Hiscock in the mix, Hope Mill also underlines the blossoming synergy between screen actors and the regional theatre scene—a collaboration that offers fresh opportunities for artists and audiences alike. The theatre’s intimate setting allows for a close-up look at comedic nuance, ensuring that no bungled note or comedic aside goes unnoticed.

Reinventing The Biographical Comedy

What sets GLORIOUS! apart from your average musical biopic is how it leverages comedic structure to tell a story that could just as easily have been tragic or mocking. If Jenkins had been portrayed as a deluded character solely there for ridicule, the story might have been a cruel one. Instead, we see a layered approach that invites the audience to laugh at the mishaps while admiring the resilience. For contemporary theatregoers used to more subversive or dark comedic themes, GLORIOUS! might feel like a breath of fresh air—a show that pokes fun but also leaves the door open for empathy.

The comedic territory here is broad: from fish-out-of-water jokes (Cosme, a trained musician, grappling with Jenkins’ unwavering confidence) to situational comedy and the odd pun about high society. Yet behind each laugh is an undercurrent of respect for the woman who dared to inhabit her illusions so fully. In a world fixated on perfection, Florence Foster Jenkins stands as a reminder that sincerity can sometimes overshadow ability, particularly in art forms like music, where emotional impact can matter more than technical skill.

Stepping Into The Spotlight

With previews set to begin on 27 February, and the official run stretching until 30 March, theatre enthusiasts have just over a month to catch this comedic gem. Whether you’re in it for the comedic stakes, eager to see how a Ted Lasso star fares in live theatre, or simply craving a story that captures the soaring highs of unwavering self-belief, GLORIOUS! beckons. And if you’re already in Manchester, you might find this the perfect excuse to rediscover Hope Mill Theatre, known for its boundary-pushing line-up and community-driven ethos.

If you’ve ever chased a dream in the face of doubt—your own or others’—Florence Foster Jenkins’ journey might feel astonishingly relatable, despite the comedic dressing. Charlie Hiscock’s move from screen to stage also speaks to that same passion for stepping beyond comfort zones, forging new paths, and relishing in the spotlight, no matter where it leads.

A Lasting Note Of Flamboyant Fun

Ultimately, GLORIOUS! offers more than a comedic depiction of off-key arias and gawky recitals. It’s a call to appreciate heartfelt effort, to champion the underdog, and to embrace the quirks that make each of us unique. In a theatre world that sometimes feels inundated with jukebox musicals and rehashed classics, seeing the improbable story of “the worst singer in the world” come to life can be both refreshing and oddly inspiring. The real Jenkins believed in her art—so much so that audiences believed in it, too, if only for the sheer joy of witnessing her audacity.

So, if you find yourself near Manchester this spring, grab a ticket, settle into your seat at Hope Mill Theatre, and prepare to laugh, cringe, and maybe even shed a tear for a woman whose voice defied reason but whose heart soared high. Because when it comes to live theatre, especially comedic gems like GLORIOUS!, every note—right or wrong—deserves to be heard, applauded, and remembered.