Next Stop Theater Washington DC, directed by
/mise en scène par Evan Hoffman
“Peter Holdway, a prominent actor in the UK ... captures the desperation of a fading celebrity to a tee, and is an acid-tongued delight with a sarcastic wit that never quite lets you know if his murderous thoughts are genuine.” DC Theatrescene

“Peter Holdway is frighteningly good as Sidney Bruhl. He is endearing and honest in his success and his failures. Brilliant and funny; the man you want root for. And even once the audience has glimpsed Bruhl’s dark streak, he still manages to charm his way back into their favor.” DC Metro Theatre Arts

"Holdway delivers Sidney Bruhl with a foppish flamboyance that readily paves the way for the large plot twist that occurs near the end of the first act. Holdway and Finley ... make the show a striking success.”

“As the middle-aged, urbane playwright Sydney, Peter Holdway has just the right balance of Noël Coward sophistication and Vincent Price menace for the juicy role. It is a showcase for an actor - dialogue laced with bon mots, playing head games with the other characters and the audience - and Holdway makes it his own.”

The Witches
Wyndham's Theatre London West End, Birmingham Repertory Theatre & UK tour
"Peter Holdway gives us a splendid John Cleese-style hotel doorman and head waiter, all long legs and Sergeant-Majorish superciliousness." Quentin Letts, The Daily Mail "Peter Holdway nous donne un maître d'hôtel et un portier splendides à la John Cleese, tout longues jambes et dédaigneux comme un adjudant." Quentin Letts, The Daily Mail

The Wind in the Willows
/ Le Vent dans les Saules
Birmingham Repertory Theatre,
directed by/mise en scène par Rupert Goold
Albert the horse does not figure greatly in Grahame's original work, but Bennett developed the character into what he described as a "Wolverhampton cousin of Eeyore", long-suffering, lugubrious and very funny. The production was warmly received by audiences and critics alike and I had great personal success with Albert.

Le personnage d'Albert ne figure pas beaucoup chez Grahame, mais Bennett l'a développé pour sa pièce de théâtre, donc il peut se voir comme une création originelle de celui-ci, lui-même un écrivain de rénommée mondiale. Le spectacle fut très chaudement reçu par les spectateurs à Birmingham, ainsi que par les critiques des journaux britanniques, et il faut avouer que j'ai eu une réussite personnelle avec Albert, un cheval opprimé, d'une patience à toute épreuve, lugubre et vraiment comique.

Peter Holdway's lovably grumpy Albert the horse. The Daily Telegraph
A good-looking evening enlivened by some great cameo performances, particularly from Peter Holdway as Albert the depressive horse.
The Guardian
Peter Holdway's highly amusing Black Country portrayal as Albert the faithful steed
will have you in stitches.
Sunday Mercury, Birmingham

L'interpretation ... par Peter Holdway d'Albert le destrier fidèle vous fera rire aux larmes.
Sunday Mercury, Birmingham
Une belle soirée animée par des interpretations camées formidables, surtout par Peter Holdway
dans le rôle d'Albert le cheval dépressif.
The Guardian
L'adorablement grignon Albert le cheval de
Peter Holdway.
The Daily Telegraph

Interview in The Stage newspaper

Peter Holdway has had a varied acting career for more than 20 years, working with such companies as the RSC, the David Glass Ensemble, and Birmingham Rep. This year he is trying his hand at Panto for the first time, playing Fleshcreep in Watford Palace's Jack & The Beanstalk.

How is Panto different to other shows?
I think the difference is that this is the first show I've done where the audience is another character. If the audience is fired up and ready for a good night out, then the energy of the show really lifts. You're having a conversation with them, they're answering back, and when it really works, it's like everyone's speaking the same language.
You're a movement director. Has that helped with Pantomime acting?
I've worked with companies like David Glass and I find that physicality comes into Panto a lot. Several of the cast in this show are dancers, and you can tell. When you're doing Panto, the characters have to be larger than life and really be able to inhabit the space.
How do you survive doing up to 12 shows a week?
It's a bit tiring. You've just got to try and keep yourself as healthy as possible. We don't have understudies so it's even more important that we look after ourselves, especially when working around kids and there are lots of colds around. That's when you become a real trooper - even if you're dying you think "But I have to serve my public."

You play a baddy. Is it demoralising being booed?
I was talking to someone recently about actors they knew getting very sensitive about being booed when they played a villain. But I think that's strange. If you're a villain, you want to be booed. I love it. As far as I'm concerned, it shows I'm doing my job right.
Is it less fulfilling playing two-dimensional Pantomime characters?
You don't play Panto with any less truth. We all know that these characters are heightened, we all know the Pantomime cow is really two people in a costume, but within that conceit you still have to do it so that the audience believes it. I think that's one of the differences between a rep theatre Panto and a commercial Panto, which is so celebrity-driven that the characters don't mean as much. People come to see the celebrity or the character they play in the soap they come from. We have the luxury of going on and actually making something of the character we're playing.
Nuala Calvi